Great Gildersleeve

GREAT GILDERSLEEVE

Charles Stumpf -,Ben Ohmart

Introduction by Shirley Mitchell WorldRadioHistory THE GREAT GILDERSLEEVE

Charles Stumpf Ben Ohmart Introduction by Shirley Mitchell

WorldRadioHistory The Great Gildersleeve

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ISBN 0-9714570-0-X

WorldRadioHistory Th Hal Peag, Willard Waterman and the talented cast and crew of The Great Gildersleeve. A show that will outlive us all.

WorldRadioHistory ACKNOWLEDGEMENTS

Terry L. Black Dr. Page Peary Earl Diamond Photofest Louise Erickson Rick Radtke, Jr. Don Frey Jay Rath Richard Giblin Terry Salomonson Carol A. Herstek Clair Schulz Jay Hickerson Greg A. Shreeve L. Wayne Hicks Chris Silva Tim Hollis Jon Guyot Smith Dave Hunter Alan P. Spater Brian Kistler Elizabeth B. Thomsen Bill Kizer Rebecca Varner Jan Lubek Laura Wagner Fred McFadden Dave Warren Walt Mitchell Mike Wheeler Bob Olson Lee White Gloria Holliday Peary Barbara Whiting

And avery special thank you to Shirley Mitchell for her wonderful introduction.

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WorldRadioHistory Introduction

by ,Shirley Mitchell

When Iwas very, very young, about eight years old, Iwas acrazy movie-goer. My mother used to take my brother and me to the movies while she went to help my father at work. So having been at the movies from maybe twelve noon until eight at night, that was our babysitter. And Icould imitate everything that Ihad seen. Iactually started winning amateur contests when Iwas eight years old. Iwon The Children's Hour with Jules Blair in Toledo, Ohio. Iwould do Garbo and Una Merkel and Katherine Hepburn, and that's how Istarted doing the southern belle. Leila, Gildersleeve's girlfriend, is probably alittle part of all those actresses Iwatched.

WorldRadioHistory Idid about eight shows aweek during The Great Gildersleeve. The Bob Crosby Old Gold Show, Fibber McGee &Molly, The Jack Carson Show, Red Skelton, and abunch of CBS shows like Suspense. Sometimes Iwould have two and three shows a day! There were asmall group of us who did that. Iwas probably the busiest actress who played everyone's sweetheart during those years. Being so much in demand, Ijust loved working. Iwas very young and it was aball. Iwould finish ashow at CBS and Iwould have page boys holding certain doors open for me, so Icould run from CBS to NBC, and Frank Pittman would hand me my script, and Iwould go on the air! It was magic time. Radio is my favorite medium. You didn't have to put makeup on, you didn't have to get dressed, you didn't have to audition that much: the director handed you the script and you read. It was alot simpler. We all stole the money and we knew it. And of all the shows Idid at that time, The Great Gildersleeve was certainly my favorite. Working with Hal, you had to learn so much, he was such a pro. And we had the right chemistry. At the beginning he scared me to death! Because he'd been a very successful actor on Fibber. But there wasn't anyone on Gildersleeve you couldn't like, except maybe Earle Ross because he played Judge Hooker, and he played him so brilliantly that you thought of him as being obnoxious! He was perfect.

WorldRadioHistory Hal was agenius with the Gildersleeve character. In fact, Hal was that man. And NBC had always had Willard Waterman in the background because he was aperfect imitation of Hal. The difference between the two men Ithink is that Willard was amore self-effacing man. He was this tall, gentle giant. He was 6' 4" or 6' 5". He was dear and sweet and kind. Hal really was Gildersleeve. Willard was kind of laid back, and pretended to be Gildersleeve. He was wonderful. Absolutely wonderful. He never tried to imitate the voice, it was always there. But as aperformer, Hal was so Gildersleeve. He was so perfect for it. He was rather short and chubby and Ialways had the feeling that he needed to prove himself alittle, but I never had that feeling with Willard. Leila was this typically southern (and in this day and age, Idon't think she'd be accepted as much as she was then) helpless (pretended to be!), outra- geous woman. She was totally dishonest, but she was so smart with her feminine wiles. The most intelligent female Ihave ever known! Anything she wanted, whether she told you the truth or not, you bought it. Because she was so charming. In asense naïve, but street smart. It was asublime pleasure playing her. Ithink she was really in love with Gildersleeve, but she was also playing with him. She wanted to get him. He had abig house, and he was a"dahlin'."

WorldRadioHistory Iremember when Gildersleeve was supposed to marry Leila, Iwent to aflorist and got abouquet, and Igot alittle silk dress, and we dressed for the audience. And when Iwas leaving the show to get married, Hal came out with abouquet of flowers, and Istarted to cry. Ijust couldn't stop. There weren't too many backstage escapades or stories. You worked too hard! We would come in at 9AM in the morning on aSunday and rehearse until noon and then go home and change because we were always in pants and whatever. At 2PM we were back at NBC, dressed, where we started to rehearse and at 4we did the show for the east coast. Then we broke and went to the Brown Derby to have dinner, then at 8we did the second show. There wasn't that much slack time. We were so immersed in the show. Iclothed myself in the character of Leila. It just rolled off me. When Icame out on stage the audience would scream because Iwas so much younger than what they expected. That was the show Iloved most of anything I've done. And I'm still getting fan mail from it, and from my roles on Lug and Please Don't Eat the Daisies. It's incredible! Ifeel so lucky to have been a part of such awonderful show and cast. They truly were the Golden Days.

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WorldRadioHistory THE GREAT GILDERSLEEVE

WorldRadioHistory WorldRadioHistory xvi

WorldRadioHistory adio's first spin-off series was The Great RGildersleeve that premiered over the NBC network on Sunday evening, August 31, 1941 at

6:3o PM. "Spin-off" is the term used when aradio or television series is centered around acharacter who was introduced in aprevious series. Don Quinn was aformer cartoonist, turned writer who created acharacter named "Gildersleeve" on the Fibber McGee and Molly program in 1936. Quinn apparently felt that the name had ahumorous connotation. However, the name was not just afigment of his imagination. It was an authentic family name that can be traced back to I3th Century England. Originally spelled Gyldersleve, its meaning is "sleeve trimmed with gold." There are two listings of the name in Webster's Biographical Dictionary:

WorldRadioHistory Basil Lanneau Gildersleeve, American classical scholar. Born 1831 he served in the Confederate Army and became aprofessor of Greek at the University of Virginia in 1885. Four years later he founded and edited the American Journal of Philology. In 1867 he authored the text book, The Latin Grammar

Virginia Chrocheron Gildersleeve, American educator born in 1877. In 1900 she was ateacher of English at Barnard College where she became dean in 1911.

There have doubtlessly been other notable Gildersleeves. Writer Quinn first used the name in the script for the McGee broadcast of April 13, 1936. The first actor to play the role was Cliff Arquette. The same character reappeared on the broadcast of

May 4' h when he was given the first name of Cliff. More than four years elapsed before Quinn used the name once more on September 2o, 1938. This time around the character was called Widdicomb P. Gildersleeve and he was the president of ababy carriage factory and the role was played by adifferent actor, Hal Peary. Then on April 25, 1939 Peary was heard as optometrist, Dr. Donald Gildersleeve. The character then underwent achange of occupation and when he was heard from again on June 2o he became adentist, Dr. Leo Gildersleeve.

WorldRadioHistory Finally on October IT 1939 which was the 219th broadcast of the McGee program, the character's name became Throckmorton P. Gildersleeve. As Fibber's pompous neighbor he was aperfect foil for the Wistful Vista windbag. Actor Peary had ahand in helping to develop the character. The name Throckmorton was borrowed from his street address in Chicago. The actor also stated that the middle initial "P" represented Peary. Other sources have claimed that the P stood for Philharmonic. Be what may, suffice it say that Throckmorton's middle initial was P. Once he settled into the role, Peary's distinctive voice became so closely associated with the character that he could no longer double in other roles. Hal Peary's first love had always been music and as the bombastic Gildersleeve he would have no opportunity to sing on the McGee program. After nearly three years of such confinement he felt he was badly in need of a change and considered giving up the role. But the character of Gildersleeve had become such a major part of the McGee format that both the sponsor and the network did not want to run the risk of losing Peary's services. He was offered a show of his own which would be called The Great Gildersleeve. The versatile actor/musician realized that if he were to star on his own show he would somehow be able to work some music into the

WorldRadioHistory format. The network's offer was one he could not resist and he happily accepted. Leonard L. Levinson was astaff writer for the network. He had worked as an assistant to Don Quinn and was given the assignment to write the new Gildersleeve show. Peary also assisted in creat- ing astory line, situations and asupporting cast of characters. For the new show Gildersleeve would move away from Wistful Vista and settle in anew local- ity. A colorful cast of supporting players was carefully cast, and an audition script was prepared. It had been presumed that the Johnson Wax company who had sponsored the McGee program for 15 years would want to continue with the new show. Announcer Harlow Wilcox was on hand at the audition to deliver the sponsor's message and the Billy Mills orchestra provided the music. The audition was presented on May 14, 1941

in the NBC studios before alive audience who reacted favorably in all of the right places. Everyone involved felt that the audition had gone extremely well. However, the Johnson Co. declined sponsorship. Instead they chose to sponsor anew comedy series to be written by and starring comedian Ransom Sherman. The show was called Hap Hazard and centered around the perplexed proprietor of aramshackle hotel called Crestfallen Manor where all of the water faucets dripped and squeak-

WorldRadioHistory ing doors would not stay closed. The show premiered on July I, 1941. Hal Peary was greatly disappointed and upset by the fact that Johnson's Wax had not picked up the show, but another sponsor, Kraft Foods quickly took over. The Great Gildersleeve program premiered on August 3ist. The first episode was amasterful transition of the central character from the McGee show. The opening scene took place at the Wistful Vista train depot where the president of the Gildersleeve Girdle Works was departing on an overnight trip to Summerfield, atown at the other end of the line. On that fateful trip several very important changes effected Gildersleeve's character. He left behind not only his wife and nagging mother- in-law, but also avery prosperous business. His marital status was reversed and he re-entered the blissful state of bachelorhood. His mission to Summer field was necessitated by the fact that he was going to oversee the estate of his deceased young sister and her late husband Charles Forrester, and supervise the upbringing of their orphaned children, aniece and nephew.

Who is Throckmorton P. Gildersleeve? His nephew Leroy summed it up perfectly when he exclaimed, "What acharacter!" What acharacter indeed. 5

WorldRadioHistory Throckmorton was born under the sign of Scorpio one October zznd in asmall ocean-front fishing village. He was given his unusual name in honor of his paternal great grandfather, asea-faring hero who captured pirate ships during the War of 181z. The only time the boy's sea-faring instincts came to the fore was when he attempted to build a ship in abottle. The project quickly sank. In achildhood effort to earn money to buy apony, he tended to lobster pots. The black- haired boy with the flashing dark eyes was musi- cally inclined and often raised his youthful voice in song as he strolled along the shore. Sometimes he had to shout to be heard above the sound of the wind and the ocean's lapping waves. He was an obedient son and cheerfully helped with the household chores. All of his free time was spent practicing on the family's old piano. Daily, his chubby fingers ran up and down the musical scale, as he sang along. He learned all of the popular songs of the day, as well as the old ballads and even a salty sea chanty, or two. Throckmorton enjoyed the sound of his own voice and when he was not singing, he was never at aloss for something to talk about. The active boy had arobust appetite and a propensity for gaining excess poundage. As ayoung man Throckmorton was exces- sively polite, especially to older ladies who liked to chuck him under his cherubic chin, as they praised

WorldRadioHistory his angelic singing voice. In addition to playing the piano he was also proficient at strumming a ukulele. At school the girls flocked around him and affectionately called him 'Tubby.' While the boys were all envious and thought of him as being pompous and vain, and aterrible show-off. They taunted him with cruel calls of 'Hey, Fatso.' His teachers all liked the well-mannered boy and he got very good grades, excelling in music and school politics. He was amember of the glee club and during his senior year he was elected president of the Ukulele Club. Tubby liked to serenade his many girlfriends as he strummed his 'poor excuse for a guitar.' He was smart enough to realize that the boys did not like him so he made ahalf-hearted effort to gain their favor. He had no particular interest in sports and displayed no athletic prowess, nevertheless he reluctantly volunteered to take part in their rowdy activities. Fatso's movements on a baseball or football field, or on abasketball or tennis court, were all clumsy and comedic. None of the guys wanted him on their team. He even tried out to become acheerleader for the Junior Varsity, but they also rejected him. In desperation he tried to strike up many conversations and even offered to lend them ahelping hand, but they all continued to avoid him. It took avery long time and alot of conscientious effort on his part, but through

WorldRadioHistory many good deeds and amicable actions, he eventually made many lasting male friendships. It gave him great personal satisfaction to know that he was finally accepted as a'regular guy.' During his college days at Princeton the weighty windbag wrote anumber of musical plays that he directed and starred in before graduating with the class of 1914. All of these varied life's experiences contributed to the development of his complex personality, that combined vanity with atendency towards pomposity, well hidden beneath aveneer of genu- ine civic-mindedness and acommitment to tradi- tional values. Throckmorton's paradoxical personality was astrange contradiction. Although he was destined to remain aperennial bachelor, he was nevertheless arelentless romantic. He serenaded and flattered every female who came within hearing distance. The portly would-be Romeo was involved in more matters of the heart than acardiologist. His first major adult romantic encounter occurred while he was in the army in 1918, stationed in France. The object of his ardent affection was arather mature and flirtatious mademoiselle named Mimi. His most outstanding characteristic was his easily recognizable voice and especially his distinctive laugh that could convey every conceiv- able emotion and nuance. It combined acalliope

WorldRadioHistory of sounds, combining achortle, chuckle, giggle, guffaw and growl, along with the clang of abell, flutter of aflute, toot of awhistle and sweeping slide of axylophone, as his versatile voice ran up and down the musical scale. Writer Clair Schulz summed up Gildersleeve's character as being "an entertaining mixture of moonstruck procrastinator and bluster- ing bungler." Gildersleeve's age and waistline when he arrived in Summerfield in August 1941 were both the same — 42. He had anew mission in life and did not want to become an unctuous uncle. He was determined that he would deal with his young wards with honesty and candor.

For the audition the niece had been called "Evelyn" but when the series got underway her name was changed to "Marjorie." The fact that margarine was the main product being promoted by the new sponsor may have had something to do with the change in names. Marjorie — margarine? Perhaps it was strictly coincidental. Commercials for Kraft Foods promoted Parkay Margarine. Marjorie was an attractive redhead

approaching the age of 20. The young lady had aspirations of becoming either an actress or aballet dancer. The nephew, Leroy, was amischievous wise-cracking 12-year old. Arriving at the Forrester

WorldRadioHistory home at 747 Parkside Avenue, Gildersleeve met his wards whom he had not seen for anumber of years. Seriously-minded Marjorie reacted quite formally towards her newly arrived guardian and addressed him as "Uncle Throckmorton." Leroy, however, in his typical relaxed manner did not hesitate to address the newcomer as "Uncle Mort." Within a short time the name was shortened even further to an affectionate "Unk." As the relationship grew, Marjorie also began to address him as "Uncle Mort," which later became "Unkie." Gildersleeve always referred to her as "Marjorie," while her bratty brother called her "Marge." Birdie, the devoted housekeeper called the young lady "Miss Marjorie," and in tender moments, "Margie." Gildersleeve quickly grew very fond of his wards. The responsibility of afamily brought out a warmth of character that had not been evidenced previously. He beamed with parental pride as he called Leroy "My boy," and when especially pleased with the boy's behavior he would smile approval and say, "You're abright boy, Leroy!" But when the adolescent got out of hand, which was frequently the case, his uncle would chastise him with afirm, "Le-roy!!" In return, when the i2-year old caught his guardian boasting or procrastinating, which was often the case, he would pipe up with "What acharacter!" Another of the youth's favorite quizzical expressions was, "Are you kiddin'?"

WorldRadioHistory Marjorie gave her adoring guardian little cause for consternation except for the number of boyfriends she so easily accumulated, and the rare instance when she attended acostume party scant- ily clad as abareback rider. The household pets varied from time to time, and most had unseemly names. The cat was called Aesop and one of the dogs was named Senator. For atime there was acanary named Napoleon, and Leroy had aquartet of pet rabbits called Eeny, Meeny, Miney and Moe. He also had an unnamed turtle that he often carried around in his pocket. When the series first began Marjorie had aromantic interest in Ted Wills, the handsome young attorney who was ajunior member of the law firm representing the Forrester estate. Another of her acquaintances was ahopeless hypochondriac named Oliver Honeywell. Eccentric and unpredict- able, Oliver once asked for permission to spend the night because it had begun to rain and he had come away without his raincoat, and he did not want to run the risk of taking achill on the streetcar. On another occasion he was stranded up on the roof. It soon became apparent that Oliver was not aserious contender in the romance department because of his many phobias and complexes, and the character was dropped after afew appearances. The role had been played by ayoung-sounding Hans Conned.

WorldRadioHistory Marjorie's next beau was Ben Waterford whom everyone quickly dubbed "Bashful Ben." He had mechanical abilities and Gildersleeve often sought his help in making necessary auto repairs. When ww II broke out, Ben joined the Navy, which brought atemporary end to the romance. Later he returned to Summerfield and operated agas station, and remained afriend of the family. As the series continued to develop Marjorie's age was altered and she became more of atypical teenager. She celebrated her Sweet 16 birthday. For atime, much to her uncle's chagrin, she became interested in Marshall Bullard, the son of wealthy but obnoxious neighbor, Rumson Bullard. Marshall's father was not pleased with the relationship either, and the young man was sent off to an elite prep school back east. Her other would-be suitors included the fast- talking high-schooler, Wally Hawks, who was much more interested in dancing the jitterbug and driving fast cars than he was in his studies. She also had an ardent admirer named Doug who was an amateur pilot and invoked his uncle's immediate ire by buzzing around the house with his plane. Then along came the brash son of one of Gildersleeve's college chums named Larry 'Brink' Brinkerhoff. Marjorie found him much too forward though and he soon disappeared from the scene. After World War ir broke out four months

WorldRadioHistory into the series, Marjorie was missing from a number of broadcasts. Her absence was explained by saying that she was attending classes at aRed Cross training school. During one of her absences her uncle and Leroy decided to surprise her by having her bedroom redecorated. They traded in her antique four-poster bed for amore modern model. Little did they realize that she had hidden avaluable pearl necklace in one of the bedposts. After much difficulty, the helpful pair was able to retrieve the old bed, and all ended well. Leroy's behavior, however, was another matter. He often had to be reminded to wash his hands and face, comb his unruly hair, tuck in his shirttail, as well as not to slam the door. He usually wore acombined expression of asmile, smirk and a sneer. He was rough and tumble and capable of getting into fights with his friends. Leroy was young enough to be afraid of Schneider, the neighborhood bully, and he combined the innocence of youth with the rebellion of adolescence. He possessed a ready wit and was always ready with asmart-alecky remark or wise crack, but had an easy-going way about him. He could be an aggravating brat, but soon he became his uncle's pal, despite the fact that the boy delighted in deflating the older man's expansive ego. Leroy constantly displayed his desire to be independent, but he needed and wanted his uncle's help and advice. At times he could express

WorldRadioHistory understanding and compassion, beyond his years. Leroy spent most of his weekly allowance at Peavey's drugstore and especially at its soda fountain. He also liked to check out the comic books at the magazine stand. When he had exceeded his allowance, which was frequently the case, he would try to open acharge account in his uncle's name. Early in the series Leroy's trouble-making pal, Piggy Banks made him agift of adog named "Tiny." But the dog turned out to be much larger than its name, and proved to be more trouble than they could handle. Gildersleeve attempted to give the dog to Judge Hooker, but he refused because of the dog's size and ferocious nature. In desperation, Tiny was given to the egg man to live on his farm. But then the dog's picture appeared in the newspaper and disclosed the fact that he was avaluable rare breed "Saskatchewan Moosehound," and that his rightful owner was Cecil R Upshaw, the president of the Summerfield National Bank. After many exasperating events the dog was returned to Mr. Upshaw, who gave the reward of yet another Saskatchewan Moosehound. On another broadcast Leroy and Piggy built atreehouse which Gildersleeve climbed up to inspect, and fell through asecret trapdoor, landing in the victory garden. When the boy needed twenty dollars to buy anew motor for his model plane, he took

WorldRadioHistory ajob delivering newspapers for the Summerfield Indicator-Vindicator. But it only lasted asingle day. Then, for atime, he had apart time job at Peavey's store, but that also ended with disastrous results. Leroy attended the P. J. Fluegelhammer Junior High School. After he overheard his uncle and Judge Hooker discussing some of the pranks they had played during their school days, Birdie the housekeeper's best green and purple size 42 dress was kidnapped off the clothesline. It was soon discovered, stuffed and hung out of asecond floor window of the school. Naturally Leroy fell under suspicion, but it turned out to be the work of his prank-prone pal, Piggy Banks. Nevertheless, Leroy was instructed to pay closer attention to his studies. But soon thereafter the statue of P. J. Fluegelhammer that stood in front of the school was discovered dressed in an overcoat, long under- wear and acorset. In an effort to protect Leroy, his uncle and Judge Hooker went to the schoolyard after dark to retrieve the items. But they were apprehended by the school principal, Mr. Proctor who informed them that the clothing contained labels bearing the name Throckmorton P. Gildersleeve and that it was fortunate that Leroy was arelative, as he was about to be awarded amedal of honor of academic achieve- ment. Otherwise, the trespassing pair would have been in serious trouble.

WorldRadioHistory After his arrival in Summerfield it did not take long before everyone started referring to the Forrester home as "Gildersleeve's house." The fourth member of the household was the efficient and devoted housekeeper, Birdie Lee Coggins. She had her own room and drove an old jalopy. She was acook extraordinaire and attended meetings of aLodge know as "The Mysterious and Bewildering Order of the Daughters of Cleopatra." Birdie had gained her education by living life, rather than from books. She had her own opinions and let her voice be heard, but never without respect. From whatever part of the house Birdie was in, whenever the phone rang or someone was at the door, she would enthusiastically call out, "I'll get it!" but someone else usually beat her to it. By nature she was nurturing and her hands were strong, but gentle. She had an energetic reassuring embrace that could instantly drive away any feeling of self-doubt. Birdie had looked after Marjorie and Leroy practically from the time they were born, and tenderly tended to their needs. Their prosperous father Charles Forrester had managed real estate, as well as an automobile agency, and they were used to many advantages in life. They may have been slightly spoiled, but that was none of Birdie's doing. Kindhearted and ever cheerful, Birdie was a beloved and respected member of the family. She had arollicking laugh that could rattle the rafters.

WorldRadioHistory The loving housekeeper offered motherly advice to Marjorie and steered her through many teenage romances. She also guided Leroy, but with amuch firmer hand. Although the relationship was always affectionate, when the boy became unruly or rambunctious Birdie could put him in his place without raising her voice. She had wisely theorized, "What that boy needs is ahand to guide him —and slap him down when he needs it." She could soothe his hurt feelings or calm his worse fears when he came running home wailing that Schneider the bully had struck him. "He punched me in the nose —the dirty guy!" With afew kind words and agenerous slice of chocolate cake and atall glass of cold milk, the boy was ready to face the world anew. At times Birdie would raise her voice in song, singing something appropriate to the season at Christmas and Easter time. When the Summerfield Little Theatre League presented are- staging of Gildersleeve's college-day play, Deep in the Heart ofMagland, Gildy played kindly old Uncle Rufus and Birdie was heard as his wife, Auntie Freesia. Together, they sang arousing rendition of the old minstrel favorite, "What You Gonna Do When the Rent Comes 'Round?" She also joined the Jolly Boys quintet in ajangling version of "Jingle Bells." One of Birdie's more affluent gentlemen friends gifted her with acertificate good for

WorldRadioHistory mambo lessons from Professor Stonewall Jackson Guadalupe's studio. When she was alone in the house she would use amop or abroom for a mambo partner.

For the audition script asituation was created that would give Gildersleeve his introduction to Summerfield, his new home, by way of avery unpleasant encounter with acranky old codger, Judge Hooker who, as fate would have it, would oversee the duties he was about to perform for the estate. The unlikely pair disliked each other practically from first glance. On the overnight train ride the only available seat in the crowded dining car was that opposite the sour-looking judge. Insults were exchanged and there was anumber of refer- ences to Gildersleeve's expansive waistline. And of course, the only available berth in the sleeping car was the one above the disagreeable judge. During the night the weary traveler was kept awake by loud snoring from the berth below. In desperation he emptied acup full of ice water into the face of the sound sleeper. The train lurched and he slipped and fell on top of the judge which led to near violence. Judge Hooker was not only acan- tankerous old coot, he was ill-tempered and mean- spirited, to the point of being despicable. Both men were hard-headed and quick to wrath and the ani- mosity between them budded into enmity.

WorldRadioHistory The same script, with some alterations was used for the opening episode of the series. The unpleasantness between Gildersleeve and Judge Hooker may have been considered too negative an aspect for introducing acomedy series, thus the wax company's pass on sponsorship. Sensing the problem, the writers and actors worked hard to soften the characters and remove the vexing veneer that had been set up. Some conflict remained in the scripts, but the situations in future shows were less heated. Initially the judge's full name was given as "George Horace Hooker,' then it was changed to "Judge Horace W. Hooker,' and later settled into "Judge Horace Greeley Hooker." He had taken office in 1922. Sometimes, under his breath, Gildersleeve would refer to him as "the fury of the jury" and "the stench of the bench." But as their relationship mellowed, he called him "Hooker," or "the Judge," but rarely "Your Honor." Because of the Judge's derisive chortle and bleating laugh, Gildersleeve often referred to him as "the old goat." The odd pair shared expansive egos, as well as the roar of alion. But Hooker's bark was much worse than his bite. Deep down they were both nice old pussycats and became the friendliest of enemies. If the chips were down, either would hasten to the rescue of the other. Their pseudo- feud continued.

WorldRadioHistory The Judge began to call his rival "Gildy." And when he became interested in an attractive woman, which was frequently the case, the irascible Hooker would also begin to pay agreat deal of attention to her. Once the Judge got ataste of Birdie's expert cooking, he often finagled an invita- tion to dinner, with ulterior motives in mind. More than once he tried to lure her away to work for him, offering less hours and more pay. When the irate host learned of this he would fume, "That crook of aHooker tried to hook our cook again!" When the Judge's house needed fumigation to get rid of ants that had invaded the pantry, and some silverfish had taken up residence in the upstairs closet, Gildy came to the rescue by offering use of his guest room. The Judge jumped at the opportunity and moved in bag and baggage, bringing along with him asqueaking old rowing machine that he used for an hour, early every morning. Then to make matters worse he spent another hour in the only upstairs bathroom, using up the entire supply of hot water. Meanwhile Gildy was left to attempt to sleep on alumpy old horsehair sofa. Hooker's presence completely disrupted the household. Birdie had been given special instructions by Hooker to adhere to his health diet. The daily menu was drastically altered, and the usual sumptuous evening meal was reduced to a medium size bowl of broth. Gildersleeve's great

WorldRadioHistory hospitality was badly taken advantage of. The Judge felt so much at home that he decided to keep his own house closed an additional three days to have it repainted. For the most part, residents of Summerfield were law abiding and Hooker, who bore the same last name as afamous Civil War general, had very few legal matters to attend to. His duties were mainly confined to such minor offices as serving as temporary truant officer, or pretending to arrest a hooky-player for fishing without alicense, or appre- hending awould-be apple thief in someone else's tree. There was little reason for him to don ajudi- cial garb, but there were two, well-pressed robes hanging in the rear of his closet.

One of Summer field's most interesting land- marks was Peavey's drug store which was located on the corner of State Street and Parkside Avenue. It had opened its doors for business in February 1921 by the kindly and mild-mannered pharmacist, Richard Quincy Peavey. He was slight of build and had thinning hair. He wore thick spectacles which were usually perched on the end of his thin nose. When acustomer asked for one of his wares, his comment was always the same. "Any particular kind you had in mind?" Often they stopped by merely to seek his philosophical advice. The window display had not changed much

WorldRadioHistory during the years. There was an assortment of apothecary jars of various sizes and colors, as well

as alarge hand-lettered RX sign. In the center of the display was an oversized ceramic replica of apestle and mortar. As customers entered the shop they were greeted by the friendly tinkling of sleigh bells, dangling on the door. In the spring of 1943 during some "modern improvements" to the shop, the sleigh bells were replaced by electric chimes. The wall shelves were well-stocked with economy size bottles of hair tonic, mouthwash and assorted oils such as camphorated, castor, cod liver, mineral and wintergreen. There was also a wide selection of aspirin, headache remedies, cough syrup and vitamins. Peavey's drug store featured his own brand of hand-mixed lotions, potions and medicinal elixirs. The store's old oak display cases contained neatly arranged rows of cigars, candy bars, breath mints, cough drops and sundries such as shoe laces and hairpins. The proprietor frequently wiped the cases free of all smudges and fingerprints with the sleeve of his immaculately white pharmacist's jacket. The popular soda fountain accounted for a goodly share of the store's moderate profit. The seats of the counter stools of imitation leather were well worn. Whenever Peavey took an empty glass or ice

WorldRadioHistory cream dish off the shelf, he carefully wiped it with a clean dish towel. He kept the ice cream dipper in a pitcher of clean water that he changed several times each day, whether or not it had been used. The clientele of the pharmacy was greatly diversified.., almost everyone stopped by at one time or another. Two of its most frequent patrons were Gildersleeve and his nephew Leroy. Sometimes Judge Hooker stopped by for astraw- berry sundae and aCoke or, if his mood warranted it, ahand-mixed "lemon-lime phosphate." On the mirrored wall behind the fountain there were some sun-faded cardboard cutouts of agigantic triple-deck ice cream cone, as well as various kinds of sundaes, and ahuge frosted glass of Coke. One simmering summer day atrio of Summerfield's socialites, consisting of Mrs. Salisbury Twitchell, Mrs. Guernsey and Dr. Pettibone's bossy wife, smugly strolled into the shop. The ladies all had lavender-hued hair and wore fashionable frocks of floral print chiffon. Their flabby arms were heavily-laden with tiers of jangling charm bracelets. The hoity-toity highbrows had come in quest of some sweet smelling sachet and some rhinestone-studded hairpins. Peavey was nonplussed and greeted them politely. After making their purchases the trio jangled their way over to the fountain. Fussy Mrs. Twitchell used

WorldRadioHistory her elegant lace-edged handkerchief to carefully dust off the seats of three stools upon which they perched precariously. Mrs. Guernsey requested a menu, which Mrs. Twitchell wiped clean with her handkerchief, and they proceeded to ponder over it for afew minutes. Mrs. Pettibone, in her exag- gerated precise diction, placed an order for "three cherry Cokes, no ice please." In cold silence the ladies lingered over their cold drinks. Then after Mrs. Twitchell discreetly placed aten cent tip alongside her empty glass, Mrs. Guernsey paid the bill and they went outside to their luxury limousine driven by auniformed chauffeur named Chauncey. Peavey smiled to himself, thinking of his domineering wife whose maiden name was "Horsefall." They had met at acommunity picnic back in the days when he was employed as asales- man for awholesale drug firm. It was, more or less, acase of "admiration" at first sight. Some months later when he proposed marriage, she immediately accepted, but then quickly added, "but not until you own your own drugstore, Mr. Peavey." Her father had been opposed to the match so the carefree couple eloped in his Stutz-Bearcat. In later years it was replaced by aclassy Essex. Mrs. Peavey made the gentle pharmacist amost formidable wife. She phoned him at the drugstore every day. He would patiently answer by saying, "Oh, hello Mrs. Peavey — this is Mr. Peavey." At home she kept an

WorldRadioHistory equally formidable parrot that spoke only French. Unexpectedly, in the spring of 1947 he ran away from home because Mrs. Peavey kept the talkative bird in the bedroom at night and it kept him from getting any sleep. One of the bird's frequent and favorite expressions was also Peavey's: "Well, now, Iwouldn't say that."

Floyd Munson's barber shop across the street was more of an eyesore than alandmark. In the shop window stood acouple of dried out African violets and the remnants of an old poinsettia. The window itself was badly in need of cleaning and the shade was usually pulled halfway down. The barber chair stood in the center of the shop, with awell-worn old razor strap dangling from the right arm, that was loose, and creaked. Whenever acustomer requested ashave, Floyd would attach abanjo-shaped headrest to the chair. His motto was "Never put off 'till tomorrow —what you can do aweek from today." There was usually aweek's sweepings of clipped hair deposited in a dark corner, and an unused, antique brass cuspidor stood near the door. Despite the shop's unkempt appearance, the barber himself was always neatly attired with his shirttail intact, and his shoes well shined. His fingernails were clean and trimmed. As customers entered the shop they were greeted by amixture of aromas, the pungent smell of

WorldRadioHistory bay rum, the sickening sweet smell of lilac and rose talcum powder, and stale cigar smoke. At the rear of the shop stood awobbly wooden clothes tree and umbrella stand. On an oval-shaped table along the rear wall stood an early model electric revolving fan and an old radio, neither of which "swayed or played." The radio had been Floyd's pride and joy.

It was a1931 five-tube Crossley that measured 14/12 inches high, u/12 inches wide, and 9and % inches deep. The advertisement for this particular model had referred to it as a"performing midget —where kings of jazz play catchy toe-ticklers." Floyd had always kept the volume at full level and his wife Lovey complained that it made far too much noise, and refused to let him keep it at home. The radio had cost $39.75 with asmall down payment and the remainder in easy monthly installments. Floyd's "Performing Midget" had blown all five of its tubes before it was paid for. He refused to throw it away and kept it in the shop as aconversation piece. Above the table hung alarge framed pic- tured of agigantic St. Bernard clutching the handle of ahuge wicker basket in its mighty jaws. Inside the basket was apair of twins, one smiling content- edly, and the other howling. On ashelf behind the barber chair was a rack filled with acollection of old shaving mugs. Most of the mugs were cracked and/or chipped, and their only value was strictly sentimental.

WorldRadioHistory On the floor, between the dual deacon benches, where customers waited and/or loitered, lay astagger- ing stack of out-dated magazines and pamphlets. The barber's wife had once decided to redeco- rate the shop for him, and decided to add the feminine touch of wallpaper. But she could not make up her mind as to what design to use. She talked the owner of the wallpaper store into giving her three sample rolls with three different designs. After much deliberation, one wall was finally covered with adesign of red and green wide diagonal stripes, another wall was covered in alarge floral print that had been applied upside down, with the stems reaching skyward. A third wall was papered in adesign obviously intended for achild's room —teddy bears, baby buggies, miniature rocking chairs and toy sail- boats. At that point Lovey had run out of sample rolls of wallpaper, so she painted the remaining wall with some bilious-green enamel that had been left over from painting some flower pots and an old plant stand. To add atouch of color to the drab wall, she pasted up some colorful pictures she had cut from some old magazines and seed catalogs. Although Floyd had been married only once, he referred to his wife, Lovey, as "my present wife." When Gildersleeve became Water Commissioner he called him "the Commish" and he called the druggist, "the Peave." He delighted in re-telling the same old jokes and was an incessant chatterer.

WorldRadioHistory Floyd was also known to be abit of agossip and Gildersleeve once commented, "Sharing asecret with Floyd is the same as placing afull-page ad in the newspaper." Above the barber shop was an empty room, except for afew folding wooden chairs and an old upright piano, slightly out of tune. It was there that the group known as the Jolly Boys held their meetings and frequent songfests.

When Gildersleeve first settled in Summer field the big house next door had been vacant. In the spring of 1942 new neighbors moved in. There was adotty 17-year old daughter named Dottie who constantly asked to borrow scarce items, such as sugar. Her aptly named brother "Tuffy," was abully who menaced Leroy. Their father, Mr. Dobson was an uncouth part-time wrestler known as "Philadelphia Phil." To make matters worse, they had abothersome dog that had been trained to borrow the neighbor's newspaper. When the Dobsons moved away after afew months no one was really sorry to see them leave. The big house remained vacant for awhile. Then in September fate took ahand, and a major change came into Gildy's life, when awin- some widow by the name of Leila Ransom moved in. Leila is an Arabic name meaning "dark beauty." The widow was fair and blonde, and was abeauti-

WorldRadioHistory ful belle from Savannah who doused herself with expensive Shalomar perfume. She spoke with a drawl that smacked of magnolias and moonlight and used expressions such as "you-all," "poor little ole me," "mercy me," and "gracious!" When she walked her slim hips moved like the front porch swing. The syrupy siren was outrageously flirtatious as she cooed endearments like "Do be a lamb," and "Thank you, lambie pie." Gildersleeve was gleefully gullible to her goo. When she sighed, "Oh, Throck-mor-ton, you are so ro -man-tic and man-ly," her seductive drawl came close to scorch- ing the microphone. Listeners could almost envi- sion her tantalizing tonsils, fluttering in time to her eyelashes, heavily laden with mascara. Peavey once described Leila as, "a very well-preserved southern Lady." The introduction of Leila's character into the story line brought with it plenty of opportunities for Gildersleeve to raise his voice in songs of romance. The widow Ransom played the piano and coyly confided to her admiring neighbor that her favorite song in the whole world was "Speak to Me of Love," and she frequently induced Throckmorton to sing it to her. The courtship of the coquettish widow by her portly paramour became agame. He crooned and she swooned. Leila often spoke of the family and friends she had left back home. She had an adoring brother

WorldRadioHistory named Marvin, and asister Winifred who everyone fondly called "Winnie." The southern sisters had many beaus who smiled when they called them "the Heavenly Twins." Winnie and Leila were belles who never told. Eventually Winnie married aYankee engineer from up North. They had an overly polite son named Michael. Leila also told fascinating tales about her hometown girlfriend named Lou-Lee Jean. To round out the conversation, she made frequent mentions of her old beaus such as "Lightfoot Duprez" who was in the cotton business, as well as her late husband Beauregard Ransom, atrue southern gentleman. The helpless Gildy fell hopelessly in love with her and it was inevitable that they would become betrothed. When plans to marry were announced, Marjorie planned awedding shower for them. The date was set as June 6, 1943 and Judge Hooker was asked to serve as best man. For reasons unknown, the addle-pated southern belle had seemed to forget that Beauregard might still be alive. He was, and just as the minister was about to pronounce Gildy and Leila "man and wife," Beauregard appeared in the church and the wedding was called off. Leila headed back down south with Beauregard. Gildy was left in the lurch, alone in the church. He tear- fully slipped the unused wedding ring into the vest

WorldRadioHistory pocket of his tuxedo, and went home to nurse his broken heart. His damaged heart had barely had achance to begin to mend before word was received from Savannah that Leila was officially "the widow Ransom," as Beauregard had been fatally kicked in the head by amule. Still dressed in black chiffon, the widow hurried back to Summer field and the old romance blossomed anew.

In their mind's eye listeners may have envisioned Summer field as asmall slice of rural Americana. But it was, in fact, much larger than one might have imagined. The village was founded by one Homer Quink who started out with afarm and later opened ablacksmith shop. Homer was an amiable man and soon attracted neighbors. It was apleas- ant place where pleasant people smiled and said hello as you walked down the street. A town square sprouted up as well as apicturesque community park with abandshell where weekly con- certs were presented by the town's band every Sunday afternoon. Summer field was comprised mainly of mod- est-sized houses that were comfortable and well kept. Many had picket fences, green lawns, lilac bushes and arainbow profusion of fragrant flowers. In sunlight the gardens were visited by colorful

WorldRadioHistory butterflies. After dark, fireflies lit up the night sky. The town's old-timers referred to the glowing insects as 'lightning bugs' and energetic youngsters tried to catch them in canning jars, for closer inspection. The quiet streets were tree-lined and shady, with anumber of inviting benches where aweary body could rest, enjoy the cooling breeze and while away the hours. The most impressive residences were the rambling old house on State Street where Judge Hooker lived and the dilapidated old Burton mansion on the outskirts of town that had been deserted for many years. The latter was rumored to be 'haunted' because its original owner had mur- dered his wife there. As the years quickly passed, more and more people decided to settle there. The area grew and in time became acity. In 1913 Summerfield's popula- tion was listed as 14,967 and the rate of property tax was set at amodest 3mills. Among the larger buildings was City Hall and the Summerfield National Bank. A hospital was established, as well as schools and the office building of the local newspaper The Summerfield Indicator-Vindicator The town also had two radio stations —WVU and KQQQ. One of the most prosperous businesses was the Hogan Brothers department store. There were also aplentiful number of busy restau-

WorldRadioHistory rants, the most popular being The Summerfield Grill. Smaller, but well-patronized establishments included Peavey's Drug Store located on State Street and Parkside Avenue, and Floyd Munson's barber shop across the street. Miraculously the city managed to maintain its 'small town spirit.' Summer field's main landmark was alarge reservoir with its weathered water tower and pump house. A bottling works was later established. Nearby, was Grass Lake and the neighbor- ing towns of Fairview, Millville, Jacksonburg and Waterton. The locale of the Gildersleeve radio series was centered within an eight block area of Summerfield. During the 1947 broadcasting season there was asummer replacement show called Summerfield Bandstand that aired from June nth through September 3rd. Gildersleeve and Leroy, as well as other Summerfield residents appeared on the show sporadically.

Gildersleeve became involved in local politics and in the fall of 1942 he competed against Water Commissioner Clanahan for the office, and won. Becoming Commissioner was an ideal position for apompous man who wanted atitle, with few responsibilities. He took over as of October

24t h and was paid amodest $4,200 annually. He was

WorldRadioHistory given an office in City Hall. Both Marjorie and Leila wanted to remodel the office for him, but his formidable secretary Miss Fitch flatly refused. Her father had been the city's first water commissioner and alarger-than-life imposing portrait of him hung in aprominent position on the wall behind the desk. Miss Fitch had been on the city payroll for many years. Somehow Gildersleeve managed to have her replaced by ayounger and prettier new secretary, Bessie. The first actress to play the role was Pauline Drake, and in December 1945 Gloria Holliday became the new Bessie. The following year Miss Holliday became the real life wife of Hal Peary. The supervisor at the Summer field pump house was an old codger named Charlie Anderson. He constantly complained about afaulty snifter valve in the pump house, but the new commissioner repeatedly forgot to requisition anew part, and several times the area's water supply was threatened. Once Charlie came to the rescue by hastily making some vital repairs using some parts off an old coffee grinder. In the fall of 1944 Mayor Terwillinger saw some eels crossing the road near the reservoir and rumor soon spread that it was about to dry up. Gildy quickly hired an expert named Professor Luther Teaberry to use his magical electronic "rain- maker" device to solve the problem. The scheme

WorldRadioHistory failed and Gildy was temporarily fired. Back on the job, he made other mistakes, like the time he had hired adevious-looking gentleman named Lucifer Lewellyn as bookkeeper whom he had to fire him the next day. Prankster Floyd Munson, the barber with the hair-brained schemes once told Commissioner Gildersleeve that all he had to do to increase the profit of the water company was to "dilute the water." The reservoir held special memories for some of Summer field's residents. Romantic young couples would park nearby on moonlit nights to watch the moon reflected in its still waters. Leila and Gildy were known to have parked there on a number of occasions. Others had different kinds of memories involving the reservoir. Leroy and his pal Piggy once were caught skinny dipping there. At the end of the broadcast of March 29, 1950 an announcement was made that Gildersleeve had been named "Honorary Water Commissioner" of several towns across America.

Back in the spring of 1942, arevolting situation arose when "the old goat" and Gildy both had local radio programs aired at the same time, over rival stations. On the Judge's program he offered abachelor's advice on child rearing. While on his rival's show, Gildy's true identity was not revealed on the musical program where he

WorldRadioHistory was a"mystery singing voice" identified only as "Ricardo, the Brazilian Baritone — the Romeo from Rio." He used asong titled "Rosita" for his musical theme, and sang songs of romance such as "Sweet Girl of My Dreams." Competition between the rivaling shows continued until both programs left the air. In the spring of the following year there was more trouble when the water commissioner hur- riedly backed out of his driveway without looking first, and accidentally his fender dented the judicial bumper. Hooker threatened to sue and even take it to the Supreme Court. But two months later they made up when the Judge was asked to serve as Gildy's best man.

Meanwhile, they had joined forces with Peavey and Floyd, as well as Police Chief Tom Gates to organize amusical aggregation (or "musical aggravation" as Floyd termed it). The group was called "The Jolly Boys" and they rehearsed in the room above the barber shop where Floyd presided at the piano. Gildersleeve sang lead and Chief Gates used his booming voice to sing bass and maintain order when an argument disrupted the singing. "Fellas, fellas," he would plead. "Let's all be Jolly Boys." Gildersleeve's romance with Leila did not always run smoothly. The southern belle often

WorldRadioHistory developed afleeting fancy for some other handsome male, such as Dr. Arthur Hargreve. She would be absent from Summerfield for weeks, even months, at atime. Then suddenly, she'd pop up again. During one of her many absences someone new came into Gildy's life. Eve Goodwin, the principal of Leroy's school, came to the house to dis- cuss the boy's poor grades. Gildy was intrigued by her concern and was instantly attracted to her. Miss Goodwin was quite unlike most of the other lovely ladies who had caught his eye. She was not glamour-conscious, or giddy. Instead, she was articulate, soft-spoken and sophisticated. Although she enjoyed his flattery, she was not coy or coquettish and never deliberately led him on. Things were getting on fine when suddenly Leila came back to town. One look at Miss Goodwin and she was instantly jealous, and resumed her vampish ways. Poor Gildy was torn in two directions at the same time. After many years of being unused, aperfor- mance of atouring opera company was scheduled for the Summerfield Opera House. A gala formal event was planned. Although opera was not their favorite kind of entertainment, the town's residents donned their Sunday best and filled the hall. Leila was out of town at the time so Gildy invited Eve Goodwin to accompany him. He dug his old

WorldRadioHistory tuxedo out of moth balls and had Birdie air it and press it for him. Eve looked radiant in an elegant gown, and Judge Hooker wore his long evening cape. When they met in the lobby the judge tipped his high hat and made asweeping bow. Floyd and his wife Lovey came dressed in their best bowling outfits. The performance was nearly three hours long and very loud, but Floyd feel asleep and his loud snoring annoyed the diva during her aria. After the performance, as the audience passed through the lobby there were anumber of disparag- ing remarks. Gildy, being alover of fine music, gal- lantly defended the majesty of the opera. Later when he took Eve home she told him she was very proud of the way he had spoken up for the opera. She also confided that she thought he had avery fine singing voice. It was sweet music to his ears. When he was candidate for Mayor of Summer field, Gildy mistook acasual remark Eve made when she jokingly told him she would marry him — ¡f he won the election. For atime he thought she was serious. But then her difficult mother came for avisit. Although Gildy tried his best to please her, she turned adeaf ear to his constant compli- ments and placed many obstacles in his path to romance. He planned to host adinner party in her honor. Birdie's expert cooking skills were chal- lenged by the many dietary limitations and dislikes and allergies of the guest of honor. After much

WorldRadioHistory careful deliberation the cook decided to serve bouillon and poached eggs on toast. But that plan was abandoned when Gildy remembered that fussy Mrs. Goodwin was allergic to eggs. Somehow they got through the dinner. A few days later Eve received atelegram from her brother Fred informing her that he had joined the Seabees and their mother would have to spend the duration of the war in Summerfield. Gildy and Eve had a serious talk and both decided they didn't really want to get married, but remained very good friends. In the spring of 1945 wealthy and snobbish Rumson Bullard moved to Summer field and took up residence in alarge showy house near Gildersleeve. The new neighbor was vainglorious and it was obvious that he considered himself better than anyone else. Bullard looked down his nose at everyone, especially Gildy. He was aswag- gering peacock who was never seen not wearing an expensive double-breasted suit, with starched white shirt and silk cravat with an expensive diamond stud. The flamboyant fop enjoyed showing off by driving around in one of several flashy cars. Gildy resented his high-hatted antics and the pair quickly became adversaries. A private war erupted that might best be described as The Clash of the Titan EGOS! Bullard had two sons, Marshall, ateenager, and Craig, aboy nearer Leroy's age. Neither

WorldRadioHistory of them was class-conscious like their pompous parent. Marshall became attracted to Marjorie and they dated afew times. When it looked like aserious relationship might develop, there was plenty of strong family objections on both sides. But there was no real reason for anyone to worry, for impres- sionable Marjorie had her heart set on becoming afamous ballet dancer. She was in no particular hurry to marry, nor was Marshall. They discussed the matter and decided to wait until they were both at least 35 years old. The first actor to portray Bullard was Ed Max. He was succeeded by Gale Gordon who was renown for his portrayal of haughty roles. He was perfect in the role, but conflicting rehearsal schedules forced him to give up the part. Jim Backus sometimes substituted. In addition, Willard Waterman also recalled that sometime before 1950 he had played the role once or twice. In February 1948 anew love interest entered Gildy's life. Leila Ransom had returned to the south and her cousin, Miss Adeline Deveraux Fairchild moved in next door. She was adainty and demure matron with acharming southern accent. Adeline was less addled than her capricious and coquettish relative. When Gildy first met her, he immediately began using his flattering ways. She flirted in return by saying, "Mercy, imagine little ole lonesome me, living all alone in that big ole

WorldRadioHistory house, all by my little old self." Gildy then compli- mented her on her dress and she coyly replied, "Why, thank you, sir. It's just alittle ole organdy gown I've had hanging in the closet for years." Next, he sang aromantic serenade while he accompanied himself on his ukulele, and she played the piano. "You, sir are agorgeous singer. You sound just like Lawrence Tibbet." Love had bloomed once again. Adeline confided that she had come to Summerfield "to flee the memory of aromance that flowered — and died." Back in Savannah she had been engaged for 15 years to a cad called Cecil. When one of his cronies mentioned that Miss Fairchild resembled actress Ingrid Bergman, Gildy slyly replied, "She looks more like Una Merkel to me." The role of Adeline was played by Una Merkel who had worked previously with actor Hal Peary, both in films and radio. Early in the fall of 1948 ababy girl was left in the back seat of Gildy's old Studebaker. Not knowing what else to do, he took the infant back to his house. When no one claimed the baby, the family decided they would keep her. Judge Hooker cautiously pointed out that they would first have to make arrangements for adoption. Being abachelor ruled out Gildy's eligibility for adoption, so he seriously considered asking Adeline to marry him so that they could become the infant's parents. That

WorldRadioHistory plan failed, so Marjorie decided that she would take the matter into her own hands and announced that she would ask her boyfriend Ben to marry her. Her uncle would not hear of such aplan. The main matter at hand was to give the baby girl aname. On September 22 a"Name the Baby" contest was launched. Kraft Foods announced atotal of 721 prizes worth $5o,000 for the winning entry. For the next five weeks listeners were invited to submit names. Weekly prizes included table radios, pop-up toasters and automatic coffee makers, as well as the top prize of abrand new 1949 Ford sedan. In addition, the grand winner would receive acash bonus. In the meantime Aunt Harriet Forrester came to visit in order to see the baby. During her week's stay she tried to rearrange the entire family's daily routine. She set little "daily missions" for everyone. Her interference became aterrible nuisance and she quickly outstayed her welcome. Good neighbor Adeline came up with asolution by sending an anonymous telegram to Aunt Harriet asking her to come home at once. The dilemma was resolved when the baby's real father appeared and took the child back. A full romance never developed between Gildy and Adeline, but they remained the best of friends. The fashionable southern belle tried her dainty hand at operating ahat shoppe. The business failed and she returned to Savannah.

WorldRadioHistory Gildy turned his romantic gaze elsewhere and took notice of pretty brunette nurse Kathryn Milford who worked mostly night duty at the Summer field hospital. He always admired agirl in uniform, and her sparkling white uniform high- lighted her dark hair. He signed up for samba lessons and invited Kathryn to a"Latin Night Dance" at the country club. Miss Milford was dedicated to her profession and rarely had any free time for dating. The saddened swain soon realized she was unattainable. Nurse Milford was not Gildy's last heart throb, there had been many others before her, and more still to come. Included on Gildy's long list of lovely ladies were such names as the exotic Dolores Del Rey, Mae Kelly, Paula Winthrop, Grace Tuttle, pretty Mary Easton and June Stedman.

Meanwhile, Marjorie met ahandsome young man by the name of "Bronco." His full given name was Walter J. Thompson and his father operated a bookshop. Bronco was not quite as rugged as his name might imply. He was good natured and easy going, and he was also quite shy, and it took some time before he could work up enough nerve to ask Marjorie for adate... Uncle Mort took an instant liking to the young man and Leroy promptly announced "Broncho's areally neat guy." He began to spend a

WorldRadioHistory lot of time around their home and Birdie enjoyed cooking dinner for his healthy young appetite. In the fall of 1949 aprominent music publisher, Henry Krouse came to town to visit the Bullards. Thinking it could be agolden opportunity to have one of his old songs published, the Water Commissioner hurried up into his attic to dig through atrunk of old manuscripts. He dug out one for alively tune he had written back in his college days, and made repeated attempts to sing the song for the publisher, without success. In desperation, he got the Jolly Boys involved in his get-rich-quick scheme. He worked up alively arrangement and after some hurried rehearsals, the songsmith was lured into Floyd's barbershop. The crafty barber got the publisher trapped beneath astack of steaming towels while the group sang Gildy's song for him. To everyone's surprise, Mr. Krouse was duly impressed and announced that he would be willing to publish the song, if they could come up with an appropriate title. On September zist a"Name My Song" contest was announced, offering $50,000 in cash prizes. Listeners were invited to send in for arecording of Gildy singing his song, and then submit atitle for it. It was atwo-sided six inch red vinyl disc

recorded at the 78 RPM speed. The contest closed at midnight on November 5th and the winning title was "Tug O' My Heart."

WorldRadioHistory Enthusiasm for the Jolly Boys singing sessions began to ebb. Gildy was alarmed and decided to take some action to hold the group together. At the next Jolly Boys meeting he suggested that they form aband and volunteered to play the trombone that Leroy had failed to maintain interest in. He knew that Floyd was always more than willing to thump on the keys of the old piano, while Hooker tooted away on his screeching flute, and Peavey scraped away on his violin. Chief Gates was so enthusiastic at the announcement, he rushed home to dig out the broken bass drum he used to play. Peavey surprised everyone when he announced that he had been secretly practicing the cello. Mrs. Peavey would not allow him to bring the instrument into the house, so each night after dark, he would sneak into the old Willoughby house that had been deserted for many years. When neighbors heard the eerie sounds emerging from the crumbling walls, they thought the place had been invaded by ghosts. Gildy lost no time in hiring amusic professor to make avery complicated arrangement of "The Waltz of the Flowers." But in the hands of the inept musicians it sounded more like "The Dirge of the Weeds." The quaint quintet did their very best to master the difficult arrangement but the great discord that resulted was loud and hard on the ears, and all members of the group were ready

WorldRadioHistory to disband. But no one could decide who would be the first to walk out. A heated argument nearly came to blows. Harmony was eventually restored, and all the Jolly Boys joined in on ahearty blend of voices once again. It was around this time that Gildy got a new neighbor, asecond-rate clothing merchant by the name of Oliver T. P. Pearson. The Water Commissioner was impressed by the two middle initials until he learned that T. P. stood for "two pants." Pearson proved to be apest and borrowed items ranging from light bulbs, to amouse trap, pots and pans and an axe, all within the first week. After borrowing most of Birdie's cookware, pesky Pearson had the colossal nerve to ask her to cook his dinner on her stove. She reluctantly agreed, and in the process Gildy's lamb chops wound up in his neighbor's stew. Then, adding insult to injury, the nervy neighbor used Gildy's phone to place aseven minute long distance call to his wife, back in South Dakota. After alengthy on-and-off-again romance, Marjorie agreed to become Bronco's wife. A date was set, but arrangements did not run smoothly. The groom-to-be's highly opinionated mother was soon at cross purposes with the bride-to-be's head- strong uncle. When Gildy suggested that the couple should be married at home in Summer field, bossy Mrs. Thompson insisted the ceremony be held in

WorldRadioHistory her more fashionable home in Broadmoor. The befuddled Mr. Thompson remained noncommittal. Bronco's parents were played by Jeanette Nolan and Joe Forte, later replaced by Joseph Kearns. The disruptive in-laws could not agree on any of the other details of the wedding, such as the type of flowers to use, where the reception would be held, and even what style of gown the bride would wear. Marjorie finally prevailed by firmly stating that she wanted to wear the same dress her mother had worn at her wedding. It was one of the few instances when there was any reference to the deceased parents. The episode of April 19, 1950 contained some sentimental and dramatic moments. The wedding took place on May loth with Judge Hooker as best man. In publicity for the occasion, achurch was rented where cast pho- tographs were taken. A five-page article entitled "Gildersleeve Gives the Bride Away" appeared in

the May 23 rd issue of Look magazine. After more family squabbling, the newly- weds took up residence at 747 Parkside Avenue. Gildy helped Bronco find ajob selling real estate and his first and only sale, was aused houseboat on Grass Lake. It was purchased jointly by the Jolly Boys, with plans that they could share it for alternating vacations. There was agreat deal of excitement when the young couple broke the news that they were

WorldRadioHistory to become parents. When the day arrived Bronco could not be found and Gildy and Leroy had much difficulty getting the mother-to-be to the hospital on time. The missing husband arrived in time for the news that he was the father of ababy boy — as well as ababy girl. Leroy nearly burst with pride as he announced, "Gee whiz, Unk, I'm adouble uncle!" It was avery happy household when the twins were brought home. Gildy gurgled with glee, reacting as if he were the twins' grandfather. Birdie held them to her ample bosom as she sang them a tender lullaby. Leroy became disgruntled when the new parents refused to let him baby-sit. "Gosh," he complained, "you'd think they owned the twins, or something." Once again Gildy and grandmother Thompson got into many heated discussions on the choice of names for the babies. On March 14, 1951 a"Name the Twins" contest was begun, offering listeners alist of prizes that included zo brand new 1951 Ford Victoria sedans, as well as weekly prizes of portable dishwashers, triple-whip electric mixers, and various cash awards totaling $89,500. The winning entry named the twins "Ronald Lynn" and "Rhonda Linda."

Bullard's widowed sister Ellen Knickerbocker and her pretty young daughter

WorldRadioHistory Brenda came to Summerfield to live. As might be expected, Gildy found the widow extremely attractive, and when Leroy first laid eyes on Brenda, he too, was smitten, but was far too shy to speak out. She was effervescent and unaffected and soon had ways to ease his bashful inhibitions. Cupid beckoned and it was aclassic case of puppy love. Suddenly Leroy no longer had to be reminded to change his shirt or comb his hair. The pair began to spend alot of time together and he started to call her "Babs." Despite her kinship to his nemesis, Gildy liked the girl. Babs had aspirations of becoming asinger with aswing band, so Leroy quickly announced that he would become a drummer with just such aband. He introduced her to Peavey's soda fountain. Being Bullard's niece, the girl naturally had expensive tastes, and without hesitation, she ordered the highest priced item on the menu. It took Peavey nearly five minutes to prepare his masterpiece that he called "The Strawberry Agony." The young pair had two of the elaborate sundae concoctions. Another of their favorite past times was to sit in one of Bullard's luxury automobiles and pretend they were driving to Niagara Falls on their honeymoon. Later the fun-loving pair began to conduct jam sessions in the parlor. Gildy disapproved of the noise and tried to expose them to classical music and the finer things in life. He cleverly arranged

WorldRadioHistory to have Dr. Pettibone's daughter Clara, who was astudent at the Conservatory of Classical Music, bring her cello to the house. He was horrified when shortly after Clara arrived, she joined the others in aloud jazzy rendition of one of the popular hits of the day.

One of the main attractions at the 1939 New York World's Fair had been daily demon- strations of aphenomenal new means of commu- nication —TELEVISION. More than 25 million international visitors caught their first glimpse of flickering images on asmall black and white screen. They were fascinated and looked forward to the time they could have television in their homes. The outbreak of World War II had cur- tailed development of television, but when peace was restored and the necessary materials became available once again — production was acceler- ated. As television sets began to appear in people's homes it cut great inroads into the world of entertainment. They were content to stay at home instead of venturing out to motion pictures or live theater. One other form of entertainment was also greatly effected — radio. Many of the long time comedy and drama programs began to fade from the airwaves. In 1949 anumber of shows began to appear on regularly scheduled telecasts. A few brave pro-

WorldRadioHistory ducers of radio's most popular programs took the risk of transferring to the new medium. Among these pioneers were: The Aldrich Family, The 14fe of Rilg, and long time radio staples, Lum and Abner During the 1950-51 telecasting season, afew others followed: Amos 'n' Andy, George Burns and Gracie Allen, and Meet Corliss Archer By 1950 there were an estimated five million television sets in use. One of the most popular forms of programming were shows based on situations faced by ordinary families that contained elements of comedy. Parke Levy, awriter and producer of radio comedies coined anew phrase for family comedy situation shows on television and dubbed them sit-corns. With the television debut of the immortal sit-corn ILove Lug, in the fall of 1951, the death knell for radio comedy shows was sounded. The first comedian to make it big on TV was the very visual comic, Milton Berle with the Texaco Star Theater program. He became so popular he was dubbed "Mr. Television." Another who quickly followed was ex-vaudevillian Ed Wynn who relied heavily on sight gags for his comedy. The pantomime skills of Red Skelton and Jackie Gleason were also well-suited to the new medium. And radio stalwart Jack Benny's comedy involved alot of gesturing and facial expressions.

WorldRadioHistory In the February 1948 issue of Radio Mirror another popular radio comedian also raised his voice on the subject of television. "From Hollywood comes word that Harold Peary who you will probably know better as the Great Gildersleeve has been complaining in the broadcasting studios for months because radio executives have not been experimenting with television. He claims that the movie studios are going to beat them to the draw, as they have been pre- paring half-hour films taken from video transcrip- tions, while radio men have been letting time pass without any similar gimmicks." Mr. Peary was ahead of his time in his thinking. It is unfortunate that when The Great Gildersleeve made the transition to TV in 1954 he was no longer associated with the role. Willard Waterman had taken over the role on radio in the fall of 1950, so he was starred in the TV series. With the exception of Lillian Randolph as Birdie, all other characters were recast. Although the actors were competent, they simply did not look or sound like the radio counterparts. Forrest Lewis as Peavey managed to sound something like Richard LeGrand who had created the role. Waterman was vocally acceptable, but at 6' 4" he did not appear as most listeners had envisioned Gildersleeve. The tall actor had been directed to appear pop-eyed, with constantly uplifted eye -

WorldRadioHistory brows, and gaping mouth. There were far too many grimaces and much mugging. On TV Gildy became aone-dimensional character, with the main focus placed on his many romantic escapades. A lot of the features and relationships which were such an important part of the radio show were lost. The relationship between Gildy and Leroy never successfully developed on TV. The series was not successful and lasted only one season. A total of 39 half-hour episodes had been filmed at the Hal Roach Studios. It was produced by Matthew Rapf using various directors. The filming schedule alternated and took place on Monday, Tuesday and Wednesday on one week, and then Thursday, Friday and Saturday the following week. The series was distributed by Republic Pictures.

As the Gildersleeve program entered its le season on the air in September 1953 the story line had basically run its course and the writers began to introduce new situations and character relationships. The changes were not necessarily for the betterment of the show. The program did not return to the air for the fall season of 1954. It did, however, come back in November of that year but in an entirely new format and with adifferent air schedule. Instead of the regular half-hour broadcast, it was changed to

WorldRadioHistory areduced quarter-hour format that aired five times weekly. The unusual new schedule aired Sunday through Thursday nights at 10:15 Pm. For atime it was followed by aquarter-hour version of the Fibber McGee and Molly program. The awkward new time slot presented insur- mountable odds for the program to maintain a large listening audience. Cuts in budget made it necessary to decrease the size of the cast. Only Gildy, Leroy and Birdie continued on aconstant basis. Hooker and Peavey were heard occasionally but not usually on the same show. The characters of Marjorie, Bronco and the twins were eliminated, as well as several others. Gone also was the studio audience and live orchestra. Scripts were adapted from excerpts of previous broadcasts. The quarter-hour series was taped with as many as five or six shows being completed in one recording session. Tapings took place during the same period when the Tv series was in production. The radio series was taped on days when TV production was inactive. It was avery exhausting schedule for everyone involved, and consequently, program quality suffered. Only afew examples of the quarter-hour shows have survived. Even though the television series did not succeed, Gildersleeve managed to maintain aloyal radio following. In the fall of 1955 it returned to the air-

WorldRadioHistory waves in a25 minute format, heard Wednesday sat 8

PM. Competition from Tv was constantly on the rise, but faithful listeners continued to tune in. In 1956 Gildy returned to the air for another full season. The final season opened on September 6, 1956 with Virgil Reimer as director, and scripts by Virginia Stafford Lynne. Lillian Randolph was absent for the broadcast of March 7, 1957 and the role of Birdie was played by her sister, Amanda. The final Gildersleeve show was aired on

March 21, 1957. A golden broadcasting era had ended. Some years later, tapes of anumber of old broadcasts were packaged and distributed by an organization known as The Radio Nostalgia Network. Independent stations paid afee to air them. The commercials, as well as the original music, were deleted, and canned music substituted.

Orchestras for the radio series had been conducted by William Randolph (1941), Billy Mills (1941-42), followed by Claude Sweeten, Jack Meakin and Robert Armbruster. Producer/Directors included Cecil Underwood, Frank Pittman, Fran Van Hartesveldt, Virgil Reimer and Karl Gruener. Sound Effects were in charge of Fred Caton, Virgil Reimer and Monty Fraser. Announcers: Jim Bannon (1941-42), Ken Carpenter (1942-45), John Laing (1 945 -47), John

WorldRadioHistory Wald (1947-49), Jay Stewart and Jim Doyle (1949-50). Writers: Leonard L. Levinson, Robinson and Gene Stone, John Whedon, Sam Moore, Jack Robinson, John Elliotte, Andy White, Paul West and Virginia Stafford Lynne.

The ensemble cast of The Great Gildersleeve was one of the finest ever assembled for aradio program. Their combined talents and experience represents more than two centuries of work in legit- imate theater, vaudeville, touring musical comedies, tent shows and night clubs. Some members were pioneers in the broadcasting field, others played leading and supporting roles in every form of program from comedy to drama and variety shows. There were also years of work in television and films, including voice-over work in animated cartoons, and commercials. We thank them all for so many years of memorable listening pleasure. Take abow.

WorldRadioHistory - 57

WorldRadioHistory 58

WorldRadioHistory Cast of The Great Gildersleeve. Standing: Shirley Mitchell, Lillian Randolph, Richard LeGrand. Seated: Earle Ross, Hal Peary, Walter Tetley, Louise Erickson.

WorldRadioHistory Hal Peary, "the Great Gildersleeve."

WorldRadioHistory Hal Peary, the Great Autograph Signer.

WorldRadioHistory WorldRadioHistory A young Willard Waterman, 1935.

WorldRadioHistory Willard Waterman

Willard Waterman, "the Great Gildersleeve."

WorldRadioHistory Hal Peary visits Willard Waterman in Willard Waterman's dressing room, during his Chicago run of How To Succeed In Business Without Reae Trying, 1963.

WorldRadioHistory Walter Tetley, 1935. "Leroy Forrester."

WorldRadioHistory Walter Tetley as "Wee Sir Harry Lauder."

WorldRadioHistory Walter Tetley.

WorldRadioHistory Walter Tetley, Hal Peary, and Lurene Tuttle, 1942.

WorldRadioHistory Louise Erickson.

WorldRadioHistory Mary Lee Robb, Willard Waterman and Walter Tetley.

WorldRadioHistory Lillian Randolph as "Birdie," 1952.

WorldRadioHistory Hal Peary, Lillian Randolph and Freddie Mercer in Gildersleeve on Broadway.

WorldRadioHistory Marjorie, Birdie, Gildy and Leroy (Lurene Tuttle, Lillian Randolph, Hal Peary and Walter Tetley)

WorldRadioHistory Earle Ross as "Judge Hooker."

WorldRadioHistory Back cover of Grimm's Fairy GRIMM'S FAIRY TALES Tales, narrated by Earle Ross. ALBUM No. 50

SNOW WHITE ROSE RED DR. KNOW-ALL THE THREE BROTHERS

NARRATED BY EARLE ROSS

FOr that neglected age — the child too not lor nursery rhymes — too young for the eland», »eh air Roble Hood, Treasure blond. etc. b. this Album. GRIMM'S FAIRY TALES live again. Each immortal narretive completely enchants the child with Ito beauty ... its charm... and its world of snake belle» lovellumr. Black and WhIte Record Company te proml to preterit Min. the fir* el • an« of album riew for juveniles. for

'he» are dne Sled. 'Phial Will nonne glOW nid. The Land ot Fame» awaits the playing of the first record ,

Earle Row, one of America'. fined character actors, as well OD on. Of the greet voice, ol modern radie. In the Narrator el each story in this album Heard from coast to creel daily, and on el lend ono transconti- nental programme of note, doing a well defined and easily recognized series al characters, Earle Rees is Me former Dean of one of the lingent mhools nl Fine Arts In the country. catering strictly lo children. Mr. Room ha. been »en in rounder., motion pinnate,, and he has received thou- sand. of reduced. to enter stiff another field of endeavor, THE TELLING OF CHILDREN'S STORIES on home recording.. We ere happy that we This Album come» of Black end While hare been chosen to bring Mr. Rom ro thin new channel of entertain- Records, in drop sequence. Hendon IAni: ROSS: ment. We Mint that you will get as much enjoyment front the hearing Sinn» Adapted by WRIGHT ESSEN: Music by of them moriew fro often told, but never old) as Mr. Rom received te the HOWARD HALBERT; Super-maid by RALPH BASS telling of these and we KNOW you will enjoy each character etching which Mx. Rosa has no finely drawn lcv you In the telling el these tale.

WorldRadioHistory Gildy (Hal Peary), Judge Hooker (Earle Ross) and Peavey (Richard LeGrand).

WorldRadioHistory Shirley Mitchell, "Leila Ransom."

WorldRadioHistory Shirley Mitchell and Willard Waterman at aFriends of Old-Time Radio gathering.

WorldRadioHistory Arthur Q. Bryan as "Floyd Munson," 1942

WorldRadioHistory Mrs. Hal Peary - Gloria Holliday ("Bessie Barstow").

WorldRadioHistory Gloria Holliday and husband, Hal Peary.

WorldRadioHistory Bea Benadaret, "Eve Goodwin."

WorldRadioHistory Richard Crenna as "Bronco Thompson."

WorldRadioHistory Gale Gordon, "Rumson Bullard."

WorldRadioHistory Una Merkel, "Adeline Fairchild."

WorldRadioHistory Barbara Whiting, 1945. "Babs Knickerbocker."

WorldRadioHistory Goodbye, from The Great Gildersleeve cast! Seated: Lillian Randolph, Gloria Holliday, Una Merkel, Mary Lee Robb Standing: Richard LeGrand, Earle Ross, Walter Tetley, Hal Peary, Jack Meakin, John Wald, Arthur Q. Bryan

WorldRadioHistory MEET THE CAST

WorldRadioHistory HAL PEARY (Throckmorton P. Gildersleeve) was born Harrold Jose Pereira deFaria in San Leandro, California on July 25, 1908. His birthplace was located on Dabner Street which had been named in honor of his maternal great-grandfather, Joâo Guilherme Dabner, athird generation Californian whose Portuguese-Flemish ancestors emigrated from the Azores in the early 1860's. The family held aland grant. "Hal," as he preferred to be called, received his education at St. John's Academy and St. Mary's Highland College. At an early age he had displayed an excellent singing voice and received training from Professor Ernest Muse, and later, in New York City, by Dr. Emil Polak who was rehearsal accompanist and vocal coach for opera star, Mary Garden. Back home the talented youngster began

WorldRadioHistory to perform at local functions. For publicity purposes he dropped one of the is from his first name and changed his surname to "Perry." His radio debut took place on January 21, 1923 over station KZM where he was billed as "The Oakland Tribune's Boy Caruso." In areview, the entertainment editor of the newspaper accidentally mis- spelled the name as "Peary." Hal liked the unique spelling, and in time had it legalized, continuing to pronounce it as "Perry."

By the age of 20 the handsome 5' 8" actor with black hair and dark eyes began doing stage work in tent shows, comic operas and musical comedies. He also worked for the stock companies of Henry Duffy, the Fulton Street stock company, as well as McLoon Productions. In addition, for atime he formed amusical vaudeville act with Sylvia Breamer. The singing actor worked exten- sively throughout the west coast, and toured as far as Australia and the Orient. He returned to San Francisco to attend Santa Clara University. While appearing in stock in Arizona he met his wife, Betty Farquhar Jourdain, asinger and acrobatic dancer. He began appearing on avariety of programs such as The Spanish Serenader, Roads to Romance, El Sidelo Minstrels, and The Spotlight Revue, on which he worked with cowboy singer, Charlie Maxwell. In 1930 Peary was signed to asix-month contract with west coast NBC.

WorldRadioHistory In 1935 he relocated to Chicago and was soon being heard on programs such as Wheatenaville, Welcome Valk'', Flying Time and It Can Be Done. In December 1937 he was heard on Lights Out in aWorld War IChristmas story about the three wise men and the star of Bethlehem. The script was written by Arch Oboler and the setting was a small railroad station somewhere in France, where several soldiers were waiting to return home. Peary was cast in the role of aFrench army captain and used avery effective French accent. Also heard on the broadcast was another Chicago-based similar- sounding actor, Willard Waterman, portraying the role of ablack American serviceman. The broadcast was afine example of radio drama at its finest. Also in 1937 Peary had begun to appear on the Fibber McGee and Molly program. Among the first roles he played was blustery Mayor Appleby, stuffy Cicero Clod, British Lord Bingham, druggist Cramer, avain movie star named Silverscreen, the- atrical manager Frite -Wig, store owner Dinwiddle, and aChinese laundryman named Gooey-Fooey. Other Peary characterizations included a dignified art instructor, afussy interior decorator who also doubled as an amateur wrestler, a bombastic Army General, ataxi driver, as well as various doctors, lawyers and other pro- fessionals. Finally on October 17, 1939 he became Throckmorton P. Gildersleeve. The character

WorldRadioHistory quickly became afavorite with listeners and it was decided to give him aprogram of his own. The Great Gildersleeve premiered on Sunday evening, August 31, 1941. An invited audience of approximately 300 people were in attendance. The program aired weekly from Studio A at the NBC Studios located at the corner of Sunset and Vine, in Hollywood. It was sponsored by Kraft Foods. Peary was signed to an exclusive five-year contract with both the network and the sponsor. The contract limited his future air and screen billing to "The Great Gildersleeve." Although the role would bring him international fame, it also placed limits on his versatile range, especially his musical talents. Occasionally he made guest appearances on other shows, and at such times he was always billed as "The Great Gildersleeve." On February 1, 1943 Peary was featured as guest star in aradio dramatization of the 1924 Broadway success, The Show Off as heard on the Lux Presents Hollywood program. The Show Off told the story of Aubrey Piper, abig talking non- achiever who always wore acarnation in his but- ton-hole and carried an elegant walking stick. He was employed as an ordinary clerk at abuilding company, but liked to pass himself off as ahigh- ranking executive. Piper's constant bragging got him in plenty of trouble and irked his in-laws, especially his disapproving mother-in-law. There were a

WorldRadioHistory lot of similarities between the characters of Aubrey Piper and Throckmorton P. Gildersleeve and the role was especially well-suited to Peary's special talents. In introducing the show director Cecil B. DeMille announced: "The night Fibber McGee and Molly introduced anew character into their show, called 'Gildersleeve,' Iam sure no one could have fore- seen the fantastic success story to which we add a new chapter tonight. Mr. Gildersleeve made agreat hit with Fibber and Molly's audience, and soon had aradio program of his own. Then came aseries of motion pictures at RICO. You will find another name on Gildersleeve's birth certificate — Hal Peary, to be exact. But Mr. Peary has been swallowed up by Mr. Gildersleeve, to the great enjoyment of the American people." The versatile actor had lost his own identity to the fictional character he had brought to life on the air. Instead of guest star billing for the broadcast being credited to his own name —it was credited to "The Great Gildersleeve." Co-stars were Beulah Bondi and Una Merkel. Some 18 years later Miss Merkel joined the cast of the Gildy show as love interest "Adeline Fairchild." Also heard in supporting roles on the Lux program were Arthur Q. Bryan and Ken Christy. For an actor of Mr. Peary's stature not to receive billing in his own name for

WorldRadioHistory portraying an important role on adifferent program, was both disrespectful and agreat injustice. His feelings were doubtlessly hurt, not to mention his ego. Peary had been unhappy with the restric- tions imposed by his exclusive contract. At times the situation had an adverse effect on his usual easy-going disposition. There is evidence of this in abook written by the program's first announcer, Jim Bannon. In his autobiography entitled The Son That Rose in the West published in 1975, Bannon wrote in aletter to his parents dated September 1943: "Hal Peary who does the Gildersleeve role is awee bit inclined to have abad case of star pains these days and God forbid that somebody does not get alaugh on aline that is supposed to bring down the house. He sputters as though apoplexy is just one gasp away. My feeling is that he would do well to back off alittle on the big-wheel attitude, since there is an actor out here now, arecent immigrant from Chicago who does 'Gildersleeve' as well as Peary does. It's apretty safe bet that this boy, Willard Waterman, would welcome the chance to take over the show." After four highly successful seasons on the air, the broadcasting industry was shocked by a front page article in the August 2, 1945 edition of Daily Variee that announced "Peary In Fight For Control Of Gildy Program."

WorldRadioHistory The disgruntled actor notified the sponsor Kraft Foods, as well as Needham Louis & Brorby, the talent agency, that he wanted full control of the radio program, as well as full rights to the Gildersleeve name. Both organizations flatly refused his demands. There were rumors of a search for anew Gildersleeve. It was avery difficult time for all concerned and after serious negotiation Peary decided to remain with the show and anew contract was signed. The new fall season got underway on September 2, 1945. During the program's fifth season (1947-48) it reached its highest Hooper rating — 19.7. In December 1945 anew actress, Gloria Holliday joined the cast as Gildy's secretary, Bessie Barstow. A behind-the-scenes romance developed and she became Mrs. Hal Peary in July 1946. A son, Page Peary, was born on March 9, 1947. Meanwhile, pressures had continued to mount and there was great unrest on the show. In an unwise decision, Peary's agent signed him to

acontract with CBS in the belief that the sponsor would be willing to change networks. But Kraft

did not want to switch from NBC and quickly found another show to sponsor. Peary had been caught in the middle of avery awkward situation. As a result he was forced to relinquish the role that had

made him famous. His long-time contract with NBC was severed, as well as his lucrative association with

WorldRadioHistory Kraft Foods. He played Gildersleeve for the last time on June 14, 1950.

During the summer months CBS conducted a frenzied attempt to create anew series for him. No expense was spared to round up asupporting cast of sure-fire reliables. Music and sound effects would be of top quality, as well as production standards. On Sunday evening, September i7th the new series, Honest Harold, premiered. Peary was starred as Harold Hemp who lived with his widowed mother in the fictional town of Melrose Springs. Like the character of Gildersleeve, Hemp had a hand in raising ayoung orphan named Marvin. He conducted ahomemaker program on the local radio station where Stanley Peabody was his finicky boss. Harold had two cronies named Doc "Yak Yak" Yancy and Pete, the town marshal. He referred to the peculiar pair as "the elderly Tom Sawyer and Huckleberry Finn." Doc Yak Yak was a veterinarian who drove an old buggy pulled by an equally old horse named Silver Moon. Mother Emily Hemp had many admirers, the most ardent being an old codger named Ogleby Walker who always wore aPanama hat with his white suit when he came calling, riding in on his tractor. The program was introduced as The Hal Peag Show, followed by one of his highly recognizable laughs. Peary's musical talents were frequently

WorldRadioHistory utilized, and although the role of Honest Harold may have been self-satisfying to the actor, it came nowhere near his former success. There was agoodly number of pretty ladies in the cast of Honest Harold to provide plenty of romantic interest for bachelor Hemp. Peary's real- life wife, Gloria Holliday was heard as Gloria, the pretty switchboard operator at the radio station. Versatile actress Shirley Mitchell was very effective as Florabel Breckenridge, with her flirtatious gig- gles and delightful southern drawl. The role was much too similar to Leila Ranson. The real problem with the show was that there were far too many similarities to the Gildy show altogether. In an all-out effort to quickly establish asupporting cast of colorful characters, the writers and direction relied more on gaining laughs, than in developing humanistic traits. Much of the comedy seemed forced and over the top. The characters of Doc Yak Yak and Ogleby completely lacked the human foibles of Hooker and Peavey. During its one season acontest was conducted to find awoman who could duplicate the Honest Harold signature laugh. Reportedly there were 50,000 entrants and the name of the winning contestant was announced on the broadcast of November zed. There was also avery effective

Christmas broadcast on December 20 th .At the close of the program Peary invited listeners to send

WorldRadioHistory in gifts for Korean veterans which he would per- sonally distribute. The program failed to gain asponsor and

was sustained by CBS for the full season. It had been created by Peary and written by the team of Gene Stone, Jack Robinson and Bill Danch. It was directed by Norman Macdonnell. Music was by Jack Meakin's orchestra and Bob Lemond was the announcer. Honest Harold was aired for the last time on June 13, 1951.

Cast

Harold Hemp Hal Peag Emify Hemp (mother) Kathgn Card/Jane Morgan Marvin Stub Singer/Sammy Ogg Doc Yak Yak Yang — Joseph Kearns Pete, the Marshall Parlg Bear Florabel Breckenridge Shirlg Mitchell Gloria — Gloria Holliday Evelina — Mag Jane Croft Stanlg Peabody — 0/an Soule

In 1940 when Peary was appearing on the Fibber McGee program Paramount Pictures tapped him for abrief appearance as Mayor Gildersleeve in the film Comin' Round the Mountain. It was aback- woods comedy featuring anumber of other radio characters: Bob Burns as the Arkansas Traveler,

WorldRadioHistory comedian Jerry Colonna, and Pat Barrett known to listeners as old codger, Uncle Ezra. The leading female character was portrayed by Una Merkel. Peary's second film appearance was in asimilar comedy at Republic Pictures, titled County Fair in which he was seen as agubernatorial candidate named Gildersleeve. Also that year RKO produced Look Who's Laughing, the first of aseries of three films starring radio's famous Fibber McGee and Molly. Peary repeated his role as Throckmorton P. Gildersleeve. The second film in the series was titled Here We Go Again, once again with Peary as

Gildy. Also that year RKO cast Peary as Senator Gildersleeve in Seven Dqys Leave with Lucille Ball and Victor Mature and he sang in one of the film's musical numbers. Later that year the studio released the feature film version of The Great Gildersleeve. Peary was starred and the only other member of the radio show's cast to appear in the film was Lillian Randolph as Birdie. Starlet Nancy Gates was seen as Marjorie and young Freddie Mercer portrayed Leroy. Movie veteran Charles Arnt was cast as Judge Hooker and Jane Darwell was seen as Aunt Emma. The film provided the listening audience with avisual reference point for Summerfield and its colorful characters. According to studio publicity the radio show had 17 million listeners. Gildersleeve's Bad Day followed in 1943. Produced by the same team, the film ran 63 min-

WorldRadioHistory utes. One severe critic called it "dull and corny frib- ble, without asingle redeeming virtue." Audiences did not seem to agree and it drew amoderate crowd. One highlight of the film was the appearance of Richard LeGrand recreating his role as Peavey. The plot had Gildy being summoned for jury duty. Because of lack of space, the jury was sequestered in his home, with six male members being jammed into asingle bedroom. Gildy became innocently involved with abunch of shady characters and in an attempt to remove some incrim- inating evidence from Judge Hooker's home, he accidentally blew up his safe. Then, he was forced at gunpoint to drive the criminals from the scene in a stolen police car. Resourceful Gildy brought the bad guys to their just reward by singing the whereabouts of the escapees over the police car radio. By far the best of the series was Gildersleeve On Broadway also released in 1943. The film had a convoluted plot in which Peavey's drugstore was in danger of being forced to close because his main distributor was about to go out of business. Most of the action took place at adruggists' convention in New York City. Aboard atrain to the city, Gildy became romantically involved with adelightfully daffy widow named Laura Chandler; the role was played by Billie Burke. Mrs. Chandler turned out to be the new owner of the Sun Drug Co. At the convention the widow became ardently persis-

WorldRadioHistory tent and asked Gildy to marry her. Peavey came to his rescue by masquerading as "Mrs. Gildersleeve." The plot was further complicated with the fact that the widow had an eccentric brother with a William Tell complex, and ran around with abow and arrow. At aparty in the widow's penthouse, the crazed brother aimed an arrow at afake apple on the imposter's hat. It also knocked off "Mrs. Gildersleeve's" wig. The archer then tied adangling thread of her knitted skirt to another arrow and shot it trailing up into the city skyline. In ahilarious bit of business, as the arrow rose higher and higher, it slowly unraveled the skirt, revealing —Peavey's true identity. Gildersleeve's Ghost was released the following year in 1944, and as the title suggested, it was intended to be achiller. The opening scene took place in the Summerfield cemetery where the ghosts of two of Gildy's centuries-old ancestors, Jonathan and Randolph Gildersleeve, plotted to turn Gildy into atown hero. It was ascheme that would insure Gildy's winning an election to replace police commissioner Haley in the position. Peary played all three roles and displayed his acting versa- tility by delivering atrio of distinctively different characterizations. The plot combined all of the key ingredients usually found in aB-horror film. The ghosts led Gildy to the creepy old Wagstaff Manor where there was not only one,

WorldRadioHistory but two mad scientists conducting strange experi- ments with asecret formula, in awild attempt to make abeautiful blonde, as well as an escaped gorilla, become invisible. The phony professors stood about as much of achance of succeeding in their efforts as Gildy did in becoming police commissioner. Richard LeGrand returned as Peavey and once again Lillian Randolph was Birdie. There wasn't much that anyone could do to rescue them- selves from the preposterous plot. Unfortunately the series of Gildersleeve films at RKO ended with this weak entry. On August 13, 1945 Gildersleeve's Bad Day was dramatized on the Screen Guild Plegers radio program. The guest cast was comprised of Hal Peary, Walter Tetley, Lillian Randolph and Richard LeGrand, repeating their screen roles. In lieu of being paid asalary, all performers on the show donated their earnings to the Screen Actor's Guild Fund. In the 14 years that the Screen Guild Players was on the air it raised more than 5.5 million dollars for the cause. On November I, 1945 Peary and Walter Tetley appeared in aGildy and Leroy sketch on the Command Performance series.

Another phase of Peary's long and varied career began in 1944 when he was signed to a

WorldRadioHistory contract with the newly formed Capitol Records to make aseries of albums for children. The record company announced, "If you've listened to The Great Gildersleeve on the radio, you know why Harold Peary was selected to tell the stories. His humor, warmth and sincerity, along with his obvious love and understanding of children, make him an ideal choice." Each set contained four discs recorded at 78

RPM entitled "Stories For Children —Told in His Own Way by The Great Gildersleeve." Peary held the distinction of being the first star to do so, and his name appeared on each disc label. In anovel approach Peary injected afew appropriate ad-libs for his young listeners, such as "You better turn over the record; I'll wait," and "Go change the record while Ilight acigar." The first album contained three stories — Rumplestiltskin, Puss in Boots, and Jack and the Beanstalk. The narration was accompanied by the full orchestra used for the radio show, conducted by Robert Emmett Dolan who also composed original background music. Scripts for the stories were adapted by John Whedon and Sam Moore. The

album was released in 1944 as Capitol Set CD 11. In 1946 asecond four-record set was released

as Capitol Set CD 33. Mr. Peary's versatile voice was heard portraying all of the characters heard in The Brave Little Tailor and Hansel and Gretel.

WorldRadioHistory A third set (a) 69) was released in 1947 con- taining the stories of Cinderella and Snow White and Rose Red. Two years later Capitol re-released the record sets in various formats including aone story single disc, athree-disc set, as well as four two-disc sets. In addition the recordings were also issued in the new 45 RPM speed. The recordings sold well and on November io, 1949 Peary returned to Capitol to record the Dr. Suess story, Gerald McBoing-Boing, the amusing tale of asmall boy who spoke in sounds, rather than words. The narration was accompanied by special pre-recorded music by Billy May's orchestra.

The 78 RPM disc was issued as Capitol's #32001. It

was also released in 45 RPM format, and was later

reissued on an LP, the only one of Peary's records for children at that speed. In adeparture from children's records, Peary made one 45 RPM disc for Decca's Coral Records subsidiary label. Released in 1951 as catalog number 6o586, it contained asong entitled "Whoa Emma!" which had been written for the MGM musical, Texas Carnival. On the flip side Mr. Peary recited an overly sentimental poem entitled, "To aLittle Boy." Musical accompaniment was under the direction of Jack Meakin. In the mid 1960's The Longines Symphonette Society issued aset of LP's entitled Jack Benny's Golden Memories of Radio, which was sold 74

WorldRadioHistory only by mail order. Benny shared narration with Frank Knight and the set contained excerpts of various old radio broadcasts. The last side of the set of discs contained something that had been recorded especially for the album, an enactment of one of Arch Oboler's radio scripts from Lights Out, the tense drama, "The Cat Wife," in which Peary was heard in abrief supporting role as abutcher.

In 1951 the failure of the Honest Harold program to succeed had adevastating effect on Peary's ego, especially as an actor. A man of less strength of character and determination may not have survived. Fortunately he had invested wisely in real estate and was financially secure. He persevered and patiently pursued other paths to contentment. On April 19, 1952 he guest-starred on the Stars Over Hollywood program in an episode entitled "Cupid is aHobo." The following year he narrated asecond animated cartoon, Gerald McBoing-Boing's Symphony He narrated athird cartoon, How Now McBoing-Boing? in 1954, and also played the character role of Leo in the Allied Artists film, Port of Hell. He also made aguest appearance as amovie producer on the Spike Jones TV show. On October 19, 1953 Peary appeared with Gordon MacRae and Lucille Norman in the "Sunny" episode of The Railroad How; aseries that presented adifferent musical for radio every week.

WorldRadioHistory In the fall of 1954 Peary ventured to New York City and accepted anine month stint as adisc jockey at station wmGm. He returned to the west coast the following year and did similar duty at station KABC. Beginning March 1955 he appeared in the role of Mr. Bannister, the manager of avaudeville organization, on the June Havoc Tv series Willy on CBS. Nineteen fifty-six was an especially busy year for him. He starred as the master of ceremo- nies of the Walt Varieties program at Kcon. He also supplied the narration for the animated cartoon, Gerald McBoing-Boing on Planet Moo, as well as the character role of Ortega in the film, Wetbacks. That spring his wife Gloria sued for divorce seek- ing the custody of their son, Page. In addition he was named Honorary Mayor of Manhattan Beach, California where he had resided for a number of years. On June z, 1957 Peary appeared on the Circus Boy TV series in the episode entitled, "Hortense the Hippo." On the Perry Mason TV series he was seen as Freddy Fell in the show, "The Case of the Lover's Gamble." He was the murderer! When Fibber McGee and Molly became a TV series in the fall of 1959 Peary was included in the cast, but not as Gildersleeve, instead he was seen as Mayor LaTrivia. On November 6, 1963 Peary made aguest appearance on the Dick Van Dyke TV show. On

WorldRadioHistory the Petticoat Junction series he was seen as Mr. Davis in the episode, "Bedloe Gets His Comeuppance." In 1964 he returned to the big screen as Uncle Harry, in the film A Tiger Walks. On November 13, 1965 he appeared on The Loner series in the show called, "Sheriff of Fetterman's Crossing." For many years he served as spokesman for the Gibraltar Savings Bank, appearing in both radio and television commercials. With his third wife Juanita Lawson Parker, a former electronics engineer with Douglas Aircraft, Peary planned to retire to Hawaii in 1977. She became ill and passed away in December. He can- celed his plans for retirement and continued to look after his real estate holdings. With long time friend and partner, Jim Stuart, he planned further construction in the Santa Barbara area. Peary's last known television appearance was on Kraft "s 7fth Anniversag Show in January 1977. After nearly 70 years in show business, Peary officially retired in 1981 and died of aheart attack at the age of 76 on March 30, 1985.

PAGE PEARY (Hal's only son) was born in March 1947. His mother was actress Gloria Holliday. After his parents divorced in 1956 Page lived with his mother in Hollywood and visited on weekends with his father at Manhattan Beach,

WorldRadioHistory California. He also accompanied his father to the radio studio and had ahappy relationship with "Leroy" Tetley. In arecent interview Page recalled: "My Dad was aconsummate actor and in many ways was the absolute opposite of Gildersleeve. He was acharismatic personality and was articulate, direct and demanding of both himself and others. When Iexpressed an interest in show business he neither encouraged nor forbid me, and often said that other professions might be abit more substantial. "My career as apsychologist and in mental health administration grew out of my time served in Vietnam. I've owned radio properties for many years, but clearly my attention is focused on psychology.

"At aprogram Idirected in Washington, DC Imet Princess Diana and first lady Nancy Reagan. It was athrill to hear Mrs. Reagan tell the Princess what awonderful man my Dad was." Currently Dr. Page Peary heads the Central Presbyterian Homeless Shelter in Denver, Colorado.

WorldRadioHistory W ILLARD W ATERMAN (Throckmorton P. Gildersleeve) was born in Madison, Wisconsin on August 29, 1914. While in high school he sang over radio station WIBA with aquartet. He was also a member of atrio that sang daily at the crack of dawn. During aschool break the ambitious young man got an acting job with astock company. After graduation Waterman entered the University of Wisconsin to study engineering. But once again he got involved in radio and had a morning show at the college station. It was called The Band Wagon and he played recordings of Sousa marches every day. At other times he read poetry over the air and did some announcing. The young engineering student spent so much time at the radio station that it began to interfere with his classes, and he decided to devote full time to broadcasting. In 1934 the 6' 4" dark-haired young actor with amustache ventured to Chicago and began to make the round of radio auditions. One of his first acting assignments was the small role of alawyer in atranscribed episode of Chandu, the Magician. His character was killed off in the first episode. His next few characters, mostly villains, met the same fate. 79

WorldRadioHistory As his reputation grew in Chicago, Waterman was cast on many of the important nighttime dramas such as The First Nighter, Grand Hotel, Fifth Row Centen and the renowned Chicago Theater of the Ain Waterman's days were soon filled up with appearances on many of the popular daily soap operas such as Today's Children. His versatile voice was also in demand for roles on many of the kiddie shows airing from Chicago. On The Adventures of Torn Mix he was heard in dual roles portraying a villain named Diamonds, as well as the hero's best friend, Long Bow Billy. The actor once recalled: "There were times when Iwould go to work at seven in the morning and work throughout the day. Iwould do as many as thirty shows in aweek. The fee for those fifteen minute broadcasts was between $2.50 and ;5 per show." He became afounding member of AFRA, the radio actor's union. During 1941-42 he was featured as Mike Trent on the nighttime series, Hot Copy. He also continued on daytime serials such as Stepmothen on which he portrayed Mr. Fairchild. In 1945 he was cast as George Webster, the bumbling father in the situation comedy, Those Websters. When the series switched to the west coast, Waterman went with it. Once established in Los Angeles he was exposed to new opportunities in radio. In 1949 he

WorldRadioHistory was heard on the transcribed Damon Runyon Theatei; as well as ashort-lived comedy series, Me andJanie. He also worked on the air with comediennes such as Joan Davis and Cass Daley. In January he played the role of

John Merriweather on NBC'S series, The Halls olio!. Waterman began making appearances on The Great Gildersleeve program as early as 1947, mostly in brief supporting roles. On May z8, 1947 he was heard as adoctor giving Gildy an insurance exam. On December 24th he returned as Santa Claus. After Hal Peary left the show in the spring of 1950 he assumed the title role on September 6th. Waterman embarked on along screen career in 1949 when he first appeared in aJoe McDoak comedy short, So You're Having In-Law Trouble. His first feature film was Republic's The Flame of Youth. It was avery productive year, with roles in Free For All and the comedy Louisa, at Universal. He was seen with Bing Crosby in Paramount's Riding High, and then reported to MGM for bit roles in The Father of the Bride, Mysteg Street and Mrs. O'Mallg and Mr. Malone. In 1950 he made one film, adrama with Barbara Stanwyck entitled, No Man ofHer Own. The following year he was seen in two comedies, Francis Goes to the Races, and Darling How Could You? His

other films include: Has Aqybocly Seen My Gal? (1952), It Happens Eveg Thursde and Half aHero (1953), Three Coins in the Fountain (1954), How To Be Vey,

WorldRadioHistory Vey Popular and Three For the Show (1955), as well as Hollywood or Bust (1956). In 1958 he was cast in the important role of snobbish Claude Upson in Auntie Mame with Rosalind Russell. That year he repeated the same role onstage with Eve Arden. In the mid `5os he began to be seen frequently on various TV series such as The Adventures ofRin Tin Tin (1954), Chgenne (1955), The Adventures Om Bowie (1956), How to Marty aMillionaire, and western series Wagon Train and Maverick (1957), Bat Masterson (1958) and Laramie He was back on the big screen as Mr. Vanderhoff in The Apartment in 1960, and had abrief bit in the all-star comedy It's aMad, Mad, Mad, Mad World (1963). For television on September z, 1963 he guest starred as Coach Walter Biddle on Vacation Playhouse. In addition he appeared in an episode of My Favorite Martian, and if that weren't enough, he returned to the stage with Eve Arden in awest coast production of Auntie Mame. During 1963-64 he toured with the National Company onstage in How to Succeed in Business, Without Really Tying. During an appearance at the Studebaker Theater in Chicago, in an open gesture of friendship, Hal Peary visited him in his dressing room. The two former Gildersleeves posed for agag shot for the press, with Peary lighting Waterman's cigar. In 1964 for mcm he appeared in Get Yourself aCollege Girl. Two years later he and his wife Mary

WorldRadioHistory Anna took an apartment in New York City where he made his Broadway stage debut as Mr. Babcock in the musical, Mame. In 1971 he returned briefly to films for an appearance in Hail to the Chie Then back to Broadway to play the role of Mr. Hassler in arevival of The Pajama Game. During the summer season of 1974 he joined John Carradine and Sylvia Sidney in astock production of the classic Arsenic and Old Lace, in which he was seen as Teddy Brewster. For the next several years Waterman's time

was spent appearing in TV commercials for prod- ucts ranging from Alka Seltzer, New York Life Insurance, Florsheim Shoes, A-1 Steak Sauce, to Kellogg's Cereals. He returned to the stage in 1978 for an extended run as Mayor Shinn in adinner theater production of The Music Man, as well as the role of Harrison Howell in atouring company of Kiss Me Kate. Waterman's last appearance on Broadway came in 1983 when he had afeatured role in the musical Mame starring Angela Lansbury, and later Ann Miller. In real life Waterman was unpretentious, quiet and reserved. His hobbies included reading and golf. For many years he resided in San Fernando Valley with Mary Anna, his wife of many years. The couple had two daughters, Lynne and Susan. In later years he was frequently called upon to make appearances at old time radio conventions.

WorldRadioHistory - Of his eight years of doing Gildersleeve on both radio and TV, he recalled: "When Ifirst took over the character in 1950 we had about athree hour reading rehearsal with the cast, producer and writers on Friday. Then, the following Monday we had arehearsal with the whole cast. And on Wednesday we started rehearsal about 10 in the morning, and went through until we did the first broadcast for the East Coast at 5:30 Pm, then we left the studio to have dinner, and returned to do the repeat broadcast for the West Coast at 8:3o Pm. "We used three microphones, Istood at one, and there was another microphone for the person working across from me. The third mike was used for characters making an entrance or exit as well as an elaborate set up for sound effects." At the close of the Gildersleeve broadcast of March z8, 1951 arepresentative of the Invest in America Committee appeared and cited Kraft

Foods and NBC for presenting Willard Waterman in his intelligent and understanding portrayal of The Great Gildersleeve, "which has contributed immeasurably to the public understanding of the role of the individual, including America, at the community level." Waterman accepted with gratitude on behalf of the Gildersleeve family and made the brief comment, "What abeautiful thought."

WorldRadioHistory Willard Waterman passed away of bone marrow disease at his home in Burlingame, California at the age of 8o on February z, 1995.

WorldRadioHistory WALTER TETLEY (Leroy Forrester) was born in New York City, the son of immigrant parents. His father was German-born Fred Tetzloff and his mother, Jessie Campbell was anative of Scotland who traced her ancestry back to the Duke of Argyle and William the Conqueror. The couple had ason, Albert, followed afew years later by Walter. At avery early age, the bright and smiling Walter showed signs of having been born an entertainer. From the time he began to walk his mother began to teach him the songs of her homeland, and her favorite entertainer, Sir Harry Lauder. When the boy was able to crank up the phonograph he started to play the Scottish comedian's records, and it wasn't long before he could give aprecise imper- sonation. The family moved to Ridgefield, New Jersey and Mr. Tetzloff went to work as apostal employee. Mrs. Tetzloff continued to teach her son. She made him akilt and rented aminiature set of bagpipes for his singing debut at ameeting of the Daughters of Scotia. The boy was asensation and was soon making appearances at church and civic events. With his mother serving as his agent, he entertained on stages throughout New Jersey, Pennsylvania 86

WorldRadioHistory and parts of New York, billed as "Wee Sir Harry Lauder." For atime he worked professionally on the Keith-Orpheum vaudeville circuit. Walter's childhood was an anomaly, clouded in mystery. Because of his diminutive size and child-like appearance, for anumber of years he was billed at half his real age. The truth of the matter being, at the age of six or seven his normal rate of growth had been arrested by aglandular disorder. He did not pass through adolescence at the usual age and his voice did not change. One day in late 1929 afriend of the family suggested that the boy should give radio atry. His mother took him to an audition at NBC studios in New York City. At the time he was approaching the age of 14 but his real age was not given. He auditioned as achild and passed with flying colors. Impressed with his ability the studio booked him to make his professional radio debut on Sunday morning February 9, 1930 on The Children's Hour, a variety program featuring talented youngsters. He was billed as Walter Campbell Tetley, because his proud mother thought it sounded more Scottish. The Wee Sir Harry Lauder impression drew rave reviews and the following Saturday afternoon he

was called back to NBC for an appearance on Madge Tucker's The Lady Next Door children's program. The show also featured child performers, who in addition to singing, also presented dramatic skits.

WorldRadioHistory After continuing the same weekend routines for anumber of weeks young Mr. Tetley was signed to acontract by the network and was hailed as the youngest male star under contract to NBC. In those hard times of the Depression he began to earn a weekly paycheck. The family moved into alarger rented home in Edgewater, New Jersey and their surname was legally changed to Tetley. In order to fulfill his weekend broadcasting schedule the boy and his mother had to travel to New York City by ferry boat from their home in New Jersey. It was along, time-consuming journey back and forth. Meanwhile, at home she taught him to play the piano and also assisted with his tutoring. On February 5, 1931, less than ayear after his network debut, Walter was at NBC studios when a child actor failed to appear in time for abroadcast. With less than five minutes before air time, Walter was literally snatched off an elevator, had ascript pressed into his hands, and was ushered up to the microphone. Without benefit of rehearsal he found himself playing aleading role in aseries entitled Raisingiunior He gave avery smooth performance, and as aresult was signed to play the role in the series that aired for aquarter hour, six times each week. He continued in the part for the next year during which time he was also heard on other

NBC programs such as The Coo Coo Hour, and adra- matic show, Emerald Isle. He was given other assign-

WorldRadioHistory ments on programs such as The March of Time, Death Valky Days, The Collier Hour, Uncle Abe and David, Friendship Town, The Flying Family, Wayside Cottage, Red Adams and Wheatenaville. In March his contract had been extended for another two years. Nineteen thirty-three was an especially busy year, which included the role of Tigger on aradio version of Winnie the Pooh, as well as being heard as Tip in aseries based on The Wkard of (:4 On March

8th he was heard on the Buck Rogers series and joined

the cast of regulars on October r i. He was heard as Willie, the young protégé of afriendly Martian called Black Barney. Reportedly the busy actor was heard on five different broadcasts on the same day. On January 4, 1934 Walter made his first of many appearances with comedian Fred Allen and in August was signed on as amember of the troupe known as The Allen's Alley Players, playing asassy brat named Waldo. He was also heard on programs featuring comedians Burns and Allen, Joe Penner, Jack Benny and Eddie Cantor. On June 30th his broadcasting career was temporarily halted when he and his mother sailed aboard the Caledonia for aseven-week tour of England and Scotland with appearances in Glasgow, Edinburgh and London. Never one to miss out on an opportunity to perform, the 19 year- old entertainer gave performances on board ship during both voyages. On his return home his heavy

WorldRadioHistory broadcasting schedule was resumed. He played dramatic roles on the air with Helen Hayes and Irene Rich. He also had the continuing role of ablind boy on the Show Boat broadcasts. In addition, he was heard on the American School of the Air; as well as the children's favorite, Let's Pretend. In February 1935 Walter became aregular member of the cast of The Adventures ofBobby Benson, playing aScottish boy. He was also heard in the leading role of Spike Butler on The Thrills of Tomorrow series. During 1936 Walter's voice became familiar to the young listening audiences of adventure series such as Renfrew of the Mounties, and The Treasure Adventures ofJack Master For his noble efforts, Walter was named Outstanding Child Actor in Radio for the year 1935. There had been appearances on numerous other shows such as The Kate Smith Show, We the People, and continuing serials like Billy and Betty, and Home, Sweet, Home. It has also been reported that Walter substituted at times for Johnny, the calling pageboy for Phillip Morris cigarettes. A major turning point in his life occurred on Sunday, September u, 1937. As had become the

custom for the past 61/2 years, he made his usual morning appearance on The Children's Ho' ur Later that day he began the journey to the west coast. Fred Allen had been urging him to try his luck in

WorldRadioHistory films. The radio star was signed for the film Sally, Irene and May and arranged for Walter to have a small unbilled appearance. On September 29, 1937 Tetley appeared on Allen's Town Hall Tonight program, aired from the west coast. There were other weekly broadcasts with Allen through December 29' h.Also on the west coast he was heard on The Grouch Club with stone-faced comedian Ned Sparks. The young actor began to audition for screen roles and his first important assignment was as a

Scottish boy in MGM'S LordJeff released in 1938. He then reported to Republic Pictures for the part of a tough kid, Mulligan, in awestern film Prairie Moon with Gene Autry. Following the completion of the film Walter made some personal appearances with the cowboy star. Tetley made five films during 1939, playing afeatured role with famed violinist Jascha Heifetz in Tht, Shall Have Music. He was also seen in Boy Slaves and The Spirit of Culver In addition he had an unbilled bit as achimney sweep with Boris Karloff in The Tower of London, and did abrief bit with W. C. Fields in You Can't Cheat an Honest Man. The Disney studios were planning to pro- duce afeature length film of the classic children's story Pinocchio. When the studio learned about the young actor from back east who was causing astir in films, he was invited to make avoice test for

WorldRadioHistory the leading role. Back in New Jersey one of his hometown newspapers was enthusiastic in report- ing the news, and boasted: "Walter Tetley is doing better than alright in Hollywood and he is not one of those blond effeminate screen lover types. He is famous for his voice. For the past three weeks he has been provid- ing the voice for the title role in Disney's Pinocchio." The report was inaccurate, Walter had merely made avoice test for the studio. When the completed film was released in 1940 it featured the voice of boy actor Dickie Jones. Another momentous occasion occurred on February 7, 1939 when Walter was hired for an appearance on the Fibber McGee program. The broadcast marked the first time he worked with Hal Peary. The pair returned to the McGee program on March z8, 1944 substituting for the absent Jim "Fibber McGee" Jordan. During 1940 Walter appeared on the movie screen in four films: Militag Academy, Emergency Squad, Let's Make Music, and Under Western Skies. His radio immortality was firmly established when he debuted as Leroy on The Great Gildersleeve radio series on August 31, 1941. The role kept him occupied for the next 16 years, as he continued to make an occasional film. In 1942 he had small roles in films such as Eyes in the Night, Gorilla Man, Invisible Agent,

WorldRadioHistory Moonlight in Havana, and Thunder Birds. He also appeared as abellhop with Abbott and Costello in Who Done It? He was seen in RKO'S Gildersleeve's Bad Day, but not as Leroy, instead he again played abellhop. Nineteen forty-four brought him film roles in Boweg To Broadwe, Follow the Bgys, The Lodgen and Pin-Up Girl. In 1945 he was also seen in the delightful comedy Molly and Me. Tetley's last screen appearance was with radio comedian Bert Gordon, better known as The Mad Russian, in How Do You Do? released in 1946. Once Walter's success in Hollywood was secure, the family bought ahome in Van Nuys. He also purchased a33-foot cabin cruiser that he enjoyed piloting. The boat was christened with a bottle of Welch's Grape Juice by his former radio co-star Irene Rich. For many years Miss Rich's radio program had been sponsored by the grape juice company. Slowly, throughout his teenage years Walter's height increased afew inches. After he had passed his zis birthday he underwent treatment by anoted urologist, and his growth resumed. Willard Waterman recalled: "Walter's voice never changed, so he was able to play youngsters, all of his life. He was about 5' 3" and had no facial hair, and his body was alittle out of proportion. Nobody could get

WorldRadioHistory more out of aline than Walter. He was aScott, and proud of it." Hal Peary remembered: "Walter's personal voice did change through the years, but to quote him, 'I can still do Leroy, all Ihave to do is raise my eyebrows.' We last worked together in 1966 at Radio Night at the Hollywood Bowl. He had grown nearly six feet tall. Rather amazing." Walter's highly recognizable voice was heard over the airwaves in 1945 as part of the transcribed series, The Anderson Family. In 1948 he auditioned for another transcribed radio series about awise-guy newsboy to be titled The Kid on the Cornet; but it failed to materialize. In October 1948 he joined the cast of regulars on the Phil Harris and Alice Faye situation comedy series on CBS. He was heard in the kind of role he did so well, an aggressive and abrasive delivery boy named Julian Abbruzio. In athick Brooklyn accent, he muttered lines out of the side of his mouth. Typical expressions were "Are you kiddin'?" and "Get outta here!" The show ran through 1954. During the months of July through October 1957 Walter was heard on the Stan Freberg radio show on CBS. His voice was also heard on Freberg's comedy recording of The United States of America, Vol. 1.

WorldRadioHistory In 1956 another phase of Tetley's long and amazing career opened up when he was hired to supply the voice for an animated cartoon character in the Gerald McBoing-Boing TV series. He was heard in episodes of Dusi:y of the Circus. Back in 1941 his voice had been heard in the Warner Brothers' Looney Tunes cartoon, "The Haunted Mouse." During 1945-49 he supplied the voice for the Walter Lantz cartoons about alovable panda bear called Anc_ly Panda. In 1959 his vocal talents were again in demand and he was signed to provide the voice of aboy named Sherman in ninety-one 41/2 minute episodes of Peabody's Improbable Histog which was part of the Rocky and His Friends TV Series. Peabody was apedantic white beagle who always wore asmall red bowtie and thick spectacles. The dog genius lived in apenthouse with his "pet boy" Sherman, who also wore glasses. Peabody invented atime machine called the Wayback Machine, and the odd pair traveled in it through time and space. The machine landed them in anumber of historic places at historic times. Peabody and Sherman got briefly involved with historic figures such as Leonardo DaVinci and Alexander Graham Bell. During the adventure- some pair's first journey in the Wayback they met up with Benjamin Franklin, and continued back through space and time till they caught up with

WorldRadioHistory Cleopatra. The voice for Peabody was supplied by Bill Scott. Others heard were Paul Frees and June Foray. The series was aired on ABC-TV Tetley's last radio work was on afive-part episode of The Hollywood Radio Theater entitled "The Princess Stakes Murder." This unique series was narrated by Rod Serling and was one of the last recorded syndicated series aired over the Mutual Network. Having overcome handicaps and hardships, Walter had aspecial interest in aiding handicapped children. He donated much time to charitable work and helped organize Rainbow Troop #u6o of the Boy Scouts. It was entirely made up of shut-ins and in order for them to participate in outdoor activities, he broadcast meetings over alocal radio station. In his later years he developed asad clown act to entertain children. For his many efforts Walter was cited by the Hollywood Coordinating Council for his outstanding service to handicapped and underprivileged children. In 1971 while riding on amotorcycle near Van Nuys he was struck head-on by amotorist who failed to stop for atraffic light. Tetley suffered severe internal injuries and damage to his legs. He was hospitalized for nearly ayear. When he was discharged he had to use acane for walking, and was later confined to awheelchair. Despite his physical limitations he managed to do some voice- over work for the Hanna-Barbera company.

WorldRadioHistory On June 17, 1975 he was admitted to the Beverly Manor Convalescent Hospital where he passed away at the age of 6o on September 4, 1975. There were no family survivors. He was cre- mated and the remains were buried at Oakwood Memorial Park.

WorldRadioHistory LURENE TUTTLE (Marjorie Forrester) was born August 29, 1907 in Pleasant Lake, Indiana. Her grandfather was adrama coach and managed an opera house. Her father was anoted minstrel man, and at an early age she made her stage debut with him. At the age of 15 she worked onstage at the Pasadena Playhouse. Later she appeared on the Broadway stage with Helen Hayes in To the Ladies. With her fine speaking voice and excellent diction, she entered radio in 1936 and had afeatured role on Holiywood Hotel. She went on to become one of the busiest actresses in radio. Known to be a"quick study," she could take over arole at amoment's notice. Miss Tuttle was the first female president of the radio actor's union, the organization once voted her The Woman of the Year. One of her best remembered roles was as detective Sam Spade's secretary, Effie. She was the first actress to play the role of Marjorie on The Great Gildersleeve and continued through 1944. She was apioneer in television and during 1953-54 starred as the mother Vinnie Day in Life With Father In 1962 she was seen as the mother of the groom in the series Father of the Bride. In 1959 98

WorldRadioHistory she was leading lady to Lou Costello in atelecast of G.E. Theater During 1968-71 she was nurse Hannah Yarby in the series Julia. Miss Tuttle made her film debut in 1948 and played awide variety of roles. One of her most unusual film roles was as the No. i female gangster of all time in Ma Barker's Killer Brood in 1959. In 1948 she was seen as one of the three witches in Orson Welles' film Macbeth. She married announcer/actor Melville Ruick and they had adaughter Barbara who became an actress. The 5' 3" versatile actress with copper col- ored hair was active in all phases of show business. She died at the age of 78 on May 28, 1986.

WorldRadioHistory LOUISE ERICKSON (Marjorie Forrester) was born February 28, 1928 in Oakland, California of Swedish ancestry. Her radio debut was made at the age of seven when she was heard as afairy princess on the Uncle Whoa Bill program. Then at the age of 13 she made her network debut on the Doctor Christian series. In 1940 the exuberant teenage actress was heard on the Dramas of Youth on the Mutual network. After graduation she attended Occidental College where she studied English, psychology and costume design. Louise returned to radio to play the role of ablasé teenager named Mildren on Meet Corliss Archer In 1942 she was heard as Mitzi on A Date With Jue and took over the lead role of Judy Graves in 1943. The following year she was the second actress to play the role of Marjorie on The Great Gildersleeve. Her other radio roles were as Emmy Lou on The Adventures of Oie and Harriet, and as Betty on The Alan Young Show. In 1950 she played the role of Janice on the comedy series Granby's Green Acres, which later became the basis for the •ry series Green Acres. She had abrief career in films. Louise left radio and moved to New York City to pursue acareer onstage. Her first marriage 100

WorldRadioHistory was to actor Ben Gazzara. She had asecond marriage to Herb Leibowitz and became the mother of two sons. She has done some writing and today resides in New York City where she works as a museum tour guide for handicapped children.

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WorldRadioHistory M ARY LEE ROBB (Marjorie Forrester) was born in Streator, Illinois, the daughter of an NBC executive, who at one time served as manager of Amos 'n' Andy. The family moved to Los Angeles when she was ii. After graduation from high school Mary Lee entered UCLA and studied drama and had radio training with the Geller workshop. In her sophomore year she dropped out of college to concentrate on acareer in radio. She made her network debut on the Lum and Abner program in September 1947 portraying Abner's daughter Pearl on her wedding day. The young actress had only two lines: "I do," and "Don't cry papa." She was paid 145 but was required to pay $75 to join the radio actor's union. Another of her early assignments was to provide baby cries for B4y Snooks' infant brother, Robespierre. She was also cast as Emily Vanderlipp, the girl next door on the Burns and Allen program. In 1948 Mary Lee was hired to supply "off- mike babble" on The Great Gildersleeve show. She huddled around amicrophone with agroup of other actors making "crowd noises." She had become acquainted with Louise Erickson when they attended the Geller workshop together. One day she was visiting the Gildersleeve broadcast 102

WorldRadioHistory when Miss Erickson was absent for an important rehearsal. Mary Lee volunteered to read for the role of Marjorie. She made an excellent impression and at the end of the broadcast season when Louise left the show, Mary Lee was automatically cast in the role. At the close of the 1954 spring season Mary Lee left the program to raise afamily. Later she did some voice over work for the Disney studios.

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WorldRadioHistory LILLIAN RANDOLPH (Birdie Lee Coggins) was born December 14, 1898 in Louisville, Kentucky. She made her first public appearance at the age of four singing in aMethodist church in Sewickley, Pennsylvania where her father was the minister. With her older sister Amanda, she formed amusical act. She made her stage debut at the age of 17 replacing her sister in astage revue called Lucky Sambo. She was with aband at Chester Park in Cincinnati for afew summers and gained her first radio experience at station WTAM in Cleveland, Ohio. Later she worked for George Trendle at WXYZ in Detroit where Jim Jewell taught her how to speak in southern dialect. She and Billy Mitchell were heard on acomedy program called Lulu and Leander where they each played several characters. Miss Randolph's first network broadcast was with Al Jolson. She also was heard with comedians Joe Penner and Al Pearce. In 1937 she made anumber of appearances on the Amos 'n' Andy program. At night, she sang blues in supper clubs. She made her film debut in 1938 in Life Goes On. The following year she was seen with the Marx Brothers in At the Circus. Other films included Little Men and Am IGuile? in 1940. Mr. Smith Goes 104

WorldRadioHistory West, West Point Widow, Gentleman From Dixie and All-American Co-Ed in 1941. The Mexican Spitfire Sees aGhost, Hi, Neighbor and The Great Gildersleeve, as well as acomedy short Cooks and Crooks with Edgar Kennedy in 1942. Gildersleeve's Bad Day, Gildersleeve on Broadway, No Time For Love and Heaven Can Wait in 1943. Gildersleeve's Ghost, Adventures ofMark Twain, Three Little Sisters and Up in Arms in 1944. Song For Miss Julie in 1945. Child of Divorce and It's aWonderful L¡fe in 1946. The Bachelor and the Bobbysoxer in 1947, Sleep My Love in 1948, Once More My Darling in 1949, Dear Brat in 1951, Bend of the River in 1952, and Jenn¡fer in 1953. Miss Randolph returned to the screen in 1965 in Hush, Hush Sweet Charlotte. During 1969-70 she appeared as Bill Cosby's mother on NBC-Tv's The Bill Cosby Show. She made anumber of other appearances on TV, most notably as Sister Sara in the mini-series, Roots. Her last films were Magic in 1978 and The Onion Fieldin 1979. Miss Randolph was working with avocal group recording asoundtrack for afilm at MGM when she learned of the audition for the Gildersleeve show. During alunch break she slipped away from the recording session, hopped

in her car, rushed to the NBC studios, flew into the building, tripped, and literally slid up to the microphone. She laughed, excused herself and proceeded to read the script that was handed to her.

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WorldRadioHistory The natural way in which she handled herself, and the humor of the situation, immediately landed her the role of Birdie. She was heard on all broadcasts of the program and also appeared in the 1954 syndicated television series. In addition, the versatile actress also did commercials for radio and television, as well as voice-over work for animated cartoons. Most notably, she supplied the booming voice for the heavy- set maid with the big feet in Torn andJerg cartoons. Miss Randolph was noted for her philan- thropic work with delinquent children and was active with an organization known as Les Dames. She died of cancer at the age of 81 on September II, 1980 and was buried alongside her actress sister, Amanda, under atree in Forest Lawn Cemetery.

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WorldRadioHistory EARLE Ross (Judge Horace Hooker) was born March 29, 1888. His family hoped that he would become aMethodist/Episcopal minister. He sang soprano in the boys' choir. One day he was reaching for ahigh note and something strange happened to his voice. It cracked, and for the next couple of days he could not speak. His vocal chords had undergone acomplete change. They were no longer high and squeaky, but unbelievably low. "The more Italked, the lower they seemed to get. Ididn't sound like aboy anymore. Isounded like an old man." At school Earle became interested in dramat- ics, and decided to give professional acting atry. His voice was too low to play juveniles so the young actor was cast as villains and old men. He was hired to play three roles in the melodrama In A Woman's Power or aDangerous Friend. He convinced the producer to pay him $20 aweek, plus an additional $2.50 for serving as stage manager. In 1908 he worked with Colonel Bill Selig in the first five-reel film, The Hob, Cross. He then returned east and in 1912 starred on Broadway in Where the Trail Divides and Cost ofLiving He built up achain of theaters but went broke in the stock market crash of 1929. 107

WorldRadioHistory Ross became apioneer radio broadcaster and had his own show, The Earle Ross Theater of the Air He also starred in one of the earliest continuing dramas, Inspector Post, written by Carleton E. Morse. Another of his early radio characterizations was known as The Ramblings ofJeremiah .Quid. He was apioneer member of the Actors' Equity Union. In 1942 Ross and his wife resided in Chicago and he was very active in radio there appearing on such programs as Lights Out, Arch Oboler's Piesfor Americans, and The Theater of Famous Radio Players. Back on the west coast he was heard as the crusty older brother, Julius, on The Billie Burke Show (1945-46). Other roles included the impossible-to- please boss, J. R. Boomer, on the Meet Millie series, as well as various supporting roles on Lux Radio TheatenJonathan Trimble, Esquire, The Mel Blanc Show and Michael Shene, Detective. Beginning in 1936 Ross did some character work in films and appeared as Colonel Lafe Harvey in Cavalg, Thurman in Stormy Trails, and Professor Cleary in Riders of the Whistling Skullin 1937. In 194o he appeared onscreen as Grandpa in Courageous Dr. Christian, and as Adolph Meyer in A Date With the Falcon. In 1951 he was in the TV Adventures of Wild Bill Hickok. He also recorded fairy tales for children on the Black and White record label.

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WorldRadioHistory Ross's most memorable role was as Judge Hooker on The Great Gildersleeve beginning in 1941.

He died of cancer at the age of 73 on May 21, 1961.

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WorldRadioHistory RICHARD LEGRAND (Richard Peavey) was born August 29, 1882 in the Mount Tabor section near Portland, Oregon of French-English ancestry. At the age of 16 he decided to become asailor and left home. For the next three years he journeyed to England and Ireland, then back across the Atlantic, and on to the Orient. At the age of 19 he found himself on the streets of New York City, unemployed and hungry. While walking past the Bijou Theater he was asked if he would like to earn $1.5o. He eagerly accepted and found himself working backstage operating an artificial snow machine for aproduction of The Climbers. One day he was pressed into service as an actor and his first role was as abutler. His next stage work was with actress Amelia Bingham in Lac!), Margaret which ran for four months. Then for the next year and ahalf he played juvenile roles with the Murray Hill Stock Co. He returned to Oregon and joined the Dillon & King repertory company and toured in musical comedies throughout the west for the next five years. He also worked in vaudeville and tent shows. LeGrand entered radio in San Francisco in 1928 as the announcer for The Spotlight Revue. He 110

WorldRadioHistory played Pa Smithers on Memog Lane. He also had one of the first sponsored radio programs, Ole and the Girls, on which he worked in aSwedish dialect assisted by afemale trio known as The Coquettes. One of his favorite radio characters was known as Professor Knicklebine. He was also heard on continuing dramas such as One Man's Family and I Love aMysteg. In 1948 LeGrand joined the Fibber McGee cast as Ole, the Swedish janitor. His best remembered role was as Peavey on The Great Gildersleeve. He made afew appearances in films. He died at the age of 81 on June 29, 1963.

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WorldRadioHistory SHIRLEY M ITCHELL (Leila Ransom) was born in Toledo, Ohio on November 4, 1926. As a talented youngster she began to appear in amateur shows and her first radio broadcast was on The Children's Hour on station WSPD. At the age of 13 Shirley passed an audition for arole on The Lone Ranger program and made the journey to Detroit by bus. She attended the Universities of Toledo and Michigan and worked as an apprentice at the Cleveland Playhouse. The young actress convinced her parents to let her try for aprofessional career in radio in Chicago. She promised that if she did not succeed within two weeks, she would go back home and become aschool teacher. Within the two weeks she was cast as asouthern belle on anetwork broadcast of The First Nighter She also did stints on soap operas such as The Stog ofMag Marlin and The Road of Life, as well as comedy roles with Ransom Sherman. Miss Mitchell then moved on to Los Angeles and was soon appearing on The Sealtest Village Store as comedian Joan Davis's rival Shirley Wirley. She was also heard as Honeybee Gillis on the Life of Riley, as well as Phoebe Peabody on The Jack Carson Show. In 1943 she joined the cast of the Fibber McGee 112

WorldRadioHistory & Molly show as Alice Darling, adefense plant worker who used expressions such as "Grim-in-ny" and "Creepers!" In 1946 she had the leading female role on NBC's comedy detective series, McCarty and His Mouse. She was Kitty Archer, the mouse. In 1947 she was heard as Helen the secretary on The Bill Goodwin Show. Also during 1947-48 she played

Martha Piper on Tales of Willie Pipet: During 1949-5c, she was Molly Bee on the comedy show, Young Love. Miss Mitchell was first heard on The Great Gildersleeve in asmall supporting role as aRed Cross worker on the broadcast of February 8, 1942 and became apermanent member of the cast as Leila Ranson in September 1942. As the wife of asurgeon, she lived for a time in New York City and had ason, Scott and a daughter, Brooke. Her film credits include Jamboree (1944), Mr. Lord Says No (1952), The Clown (1954), and the role of Myra Smithers in The Desk Set (1957). Miss Mitchell was also quite active in television. During 1953-54 she played the recurring role of Marion Strong on ILove Lug. In 1962 she was

Mrs. Colton on the CBS-TV series Pete and Gladys. During 1965-67 she appeared as neighbor Marge

Thor ton on NBC-TV'S Please Don't Eat the Daisies. She remains active in supplying voice-over work. She is the widow of Jay Livingston, composer of "To Each His Own," "Golden Earrings,"

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WorldRadioHistory "Buttons and Bows," "Tammy," "Mona Lisa," "Que Sera, Sera," and countless others.

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WorldRadioHistory ARTHUR Q. BRYAN (Floyd Munson) was born in Brooklyn, New York on May 8, 1899. His long career began on stage when he sang tenor with anumber of quartets. He entered radio in 1924 working at anumber of small stations. In 1932 he was hired by WCAU in Philadelphia where he served as writer/producer and occasional actor. The genial, stout, multi-talented performer ventured to the west coast in 1938 and was heard over the css network on The Grouch Club, aprogram that offered listeners aforum to air their com- plaints and pet peeves. Bryan introduced one of his most memorable characters, lisping Waymond Wadcliffe, on The Band Wagon program with Dick Powell. Years later he used the same voice to speak for Elmer Fudd, the exasperated baby-talking wabbit hunter in the Bugs Bunny cartoons. In 1935 he had been heard as Homer Tubbs on Ethel Merman's program. During 1939-44 he played Mr. Fuddle on the Blondie show. He began his long run as Doc Gamble on Fibber McGee and Molly in 1943. Also that year he starred in ashow of his own, Major Hoople, based on acomic strip character. During 1943-44 he was amember of the zany panel on Nit Wit Court. 115

WorldRadioHistory Another of his long-running radio roles was that of Roland "Rawhide" Rolinson on the Red Ryder series (1942-51). In 1946 Bryan played the role of Duke on the short-lived situation comedy series, Forever Ernest. In 1950 he created the role of Professor Warren on The Halls of Ivy. He also took over the role of police lieutenant Walt Levinson on Richard Diamond, Private Detective. Bryan also played some character roles in films and his versatile voice was heard on anumber of children's records. He passed away at the age of 6o on November 30, 1959.

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WorldRadioHistory -- K EN CHRISTY (Chief Tom Gates) was born in 1895. His career began on the vaudeville stage. He had adeep speaking voice, and sang bass. Christy had along career as an actor in radio. He was heard on anumber of soap operas and played Leonard Clark, acrooked lawyer, on Stepmother, and was heard as Ed Prentiss on Gallant Heart. His voice was also heard on anumber of popular children's programs such as Smilin' Ed McConnel's Buster Brown Gang He played dual roles on the Jack Armstrong series, as Talia-San and Sullivan Lodge. He was frequently cast in villain roles on Tales of the Texas Rangers. He also essayed comedy parts on The Alan Young Show, Tommy Riggs and Betty Lou, and was heard as Mr. Twitchell on The Sad Sack, as well as Mr. Weemish on Bal?y Snooks. In 1940 he made his film debut and appeared in anumber of comedy shorts, as well as the feature film, Dr. Kildare Goes Home. In 1941 he was seen in such varied film fare as Whistling in Dixie, Six Lessons From Madame La Zonga and Ball ofFire. He joined Gene Autry in Bells of Capistrano in 1942 and was also seen in Secrets of the Underground, Harmon of Michigan, Burma Conve and He Hired the Boss. Christy's first appearance on the Gildersleeve program was as Police Lt. Quinn from 117

WorldRadioHistory Chicago on the broadcast of October 25, 1942. He made occasional films during the 1950's. Among his last screen appearances were westerns Fuor at Sundown, Outlaw's Son, and Utah Blaine, released in 1957. Christy died at the age of 67 on July 23, 1962.

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WorldRadioHistory G LORIA H OLLIDAY (Bessie Barstow) was born on August 26, 1924, in Billings, Montana. From an early age she had ambitions of becoming an actress because of her love of films. Immediately upon graduating from North Hollywood High School in 1943 she went to work at the CBS mail room. She soon caught the attention of producer Fran Van Hartesveldt who was then doing The Kate Smith Show. Gloria found herself in aplethora of parts in all the Kate Smith shows that Fran did on the west coast. When the role of Bessie came up for the Gildersleeve series, Fran remembered Gloria and gave her acall to read for the part. "Hal Peary was out of town, but they hired me right on the spot," Gloria recalls. "But the first show Idid, Ihad an attack of appendicitis, which caused me to flub a line. Hal said, 'Oh, get rid of her!' But then he was so upset when he found out later that I'd had an attack of appendicitis, he said, 'Oh, bless her heart, God love her, let's hire her!" When Hal Peary left the Gildersleeve to try his luck on Honest Harold, Gloria went with him. Though the series was short-lived, their artistic collaboration was not. Together they created amusical act which they broke in at the 119

WorldRadioHistory Coronado Hotel in San Diego. Hal sang, and Gloria accompanied him on the piano. They toured different venues, including the Shamrock Hotel in San Antonio, Texas, for about ayear. After divorcing Hal in 1956, Gloria turned her attention to music full time. Completely self- taught, the lovely pianist performed at avariety of hotels near the Los Angeles International Airport, as well as many clubs in the area. She continued as aprofessional musician for five years, is alife member of Musician's Union, and still plays for her own amusement. Around 1961 she turned her attention to working with computers for eight years. Then, she retired. But retirement was far from inactive. "In 1981," Gloria remembers, "my first love from North Hollywood High School, Ray McGalliard, came back into my life. He was acharming, wonderful man. We remained good friends and traveling com- panions for years, journeying to all the islands in Hawaii, and before that to Singapore, Bangkok and China. Ilove to travel. It's been quite an interesting life!"

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WorldRadioHistory BEA BENADERET (Eve Goodwin) was born in New York City on April 4, 1906. The family moved to San Francisco when she was five years old. At the age of u she was hired to sing over station WGO and was given her own program which was sponsored by Baldwin pianos. Later at station WFRC she acted in dramatic sketches with film star Edmund Lowe. Her work impressed the management and she was placed on the station's staff where her duties included acting, singing, some writing, producing, and at times she even served as the announcer. By 1935 she advanced to network radio and was heard on The Blue Monday Jamboree aired over CBS. The following year she appeared with Orson Welles on The Campbell Playhouse. In addition to dramatic acting, Bea excelled at comedy and dialects. Her big break came when she appeared on The Jack Benny Show as Gertrude Gearshift, awise-cracking Brooklynese switchboard operator. In 1938 she married actor/announcer Jim Bannon who was the first announcer on The Great Gildersleeve. In 1948 Mr. Bannon was signed by Republic Pictures to play Red Ryder on the screen. They had ason and daughter and divorced in 1950. Miss Benaderet had one of the most versatile voices in all of radio. She was heard as the calm 121

WorldRadioHistory mother on A Date With Judy, as well as Gracie Allen's confidante Blanch Morton on the Burns & Allen radio show, and later on Tv. She was also heard as the droll, nasal-sounding maid Gloria on The Adventures of Oie and Harriet program, as well as Mrs. Anderson on A Day in the L?fe ofDennis Day She supplied the sultry tones for Amber Lipscott on My Friend Irma, as well as weird Wanda Werewolf on Glamour Manor She was in the cast of the Twelve Players show. Another of her most memorable characterizations was as Mama Bronson on Meet Millie. In 1945 she joined Fibber McGee and Molly as snooty socialite Millicent Carstairs. She and her husband raised navel oranges, but in order not to sound vulgar, she referred to their crop as "Citrus - Umbilicus." She was an early convert to television and in 1962 tested for the role of Granny Clampett on The Beverly Hillbillies. Instead, she appeared as the yodel- ing hillbilly cousin, Pearl Bodine. During 1963-70 she starred as widowed Kate Bradly, owner of the Shady Rest Hotel in PetticoatJunction. For four TV seasons she supplied the voice for Betty Rubble on The Flintstones animated series. In 1967 she underwent lung surgery for cancer but later returned to Petticoat Junction to film 5more episodes. After ahalf century in show business, Miss Benaderet passed away at the age of 62 on October 13, 1968. Her husband, sound techni-

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WorldRadioHistory cian Gene Twombly died of aheart attack afew days after her funeral.

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WorldRadioHistory D ICK CRENNA (Bronco Thompson) was born November 30, 1927 in the Belmont section of Los Angeles where his family ran asmall residential hotel. As aboy he lived near the broadcasting studios of both NBC and CBS and used to retrieve castaway scripts. His acting debut took place at the age of 12 when one of his teachers yanked him out of aschool football game to audition for the Boy Scouts Jamboree radio show at station Kn. He was given apermanent role for which he was paid 25 cents aweek, plus one dollar for lunch and transportation. Dick went on to become one of the busiest young actors in Hollywood. He excelled at portraying adenoidal adolescents and was heard as Oogie Pringle on A Date With Judy during 1946-50. He also played ahigh school student with asqueaking voice, Walter Denton on Our Miss Brooks in 1950, and continued in the role on the TV series from 1952-56. He played asimilar role on The Burns and Allen Show during 1949-50. Crenna's career continued in television. In 1957 he was seen as Walter Brennan's grandson, Luke on The Real McCoys, and in 1964 he had the leading role in Slatteg's People. During his college days at the University of Southern California he majored in English 124

WorldRadioHistory Literature and History and served ahitch in the army during World War ri. He credited his comedy timing to working with such pros as Eve Arden, Gale Gordon and Walter Brennan. He also did some directing on Tv including episodes of The Andy Griffith Show, No Time For Sergeants, and Lou Grant. Crenna's film career included dramatic roles in The Sand Pebbles, Wait Until Dark, Body Heat, and The Flamingo Kid. In zoo' he was back on the small screen in aTV movie, By Dawn's Early Light, playing an elderly rancher and World War II veteran. His Broadway stage debut was made in 1957 in the comedy A Hole in the Head.

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WorldRadioHistory GALE GORDON (Rumson Bullard) was born in New York City on February 2, 1905. His father was afamous vaudeville performer and his mother was actress Gloria Gordon. His education took place in England while his parents were on tour. He made his stage debut at the age of 17 with Richard Bennett in The Dancers, and he later toured in a leading role in Seventh Heaven. Gordon's radio debut occurred under most inauspicious circumstances in 1926 when he wandered into the studio of station KFWB in Hollywood. He was put on the air strumming a few chords on aborrowed ukulele while he sang "It Ain't Gonna Rain No More." His radio acting career began on the dramatic series English Cornets in 1933. As unlikely as it may seem, in 1935 he starred as interplanetary traveler Flash Gordon on atranscribed quarter-hour weekly series for 26 weeks. For seven years he was romantic leading man to Irene Rich on her program. In 1941 he joined the Fibber McGee and Molly cast as pompous Mayor LaTrivia. During World War II he served as agunnery instructor for the Coast Guard and returned to the McGee program in 1945 as indecisive weatherman F. Ogden (Foggy) Williams, giving non-committal reports such as 126

WorldRadioHistory "Unofficially, and off the record, weather condi- tions will probably be — about general —if not better —or worse. One never knows for sure. Sometimes it's this, and sometimes it's that — or both —usually —one or the other —in away — although —not definitely." With his precise diction Gordon excelled at portraying officious lawyers, stitfbankers and pompous businessmen. He was heard on the comedy programs of Burns and Allen, Phil Harris and Alice Faye, Dennis Day, and Judy Canova. He also played Judge Grundle on The Penny Singleton Show, and as Mr. Merriweathers on The Halls of Ivy Gordon played the perplexed father Harry Graves on Junior Miss. He was heard with Lucille Ball on My Favorite Husband in 1948-51 and later appeared with her on TV in The Lug Show as her cantankerous boss, Theodore J. Mooney. On Here's Lug he was again her boss, Harrison Carter.

In 1961 Gordon joined the cast of TV'S Dennis the Menace as John Wilson. Perhaps his most memorable role was as the blustery Osgood Conklin, high school principal, in Our Miss Brooks. Gordon appeared in anumber of films. He passed away at the age of 89 on June 30, 1995.

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WorldRadioHistory CATHY LEWIS (Nurse Kathryn Milford) was born in Wenatchee, Washington in 1918. At the age of seven she appeared onstage billed as "The Jazz Baby." In her teens she sang with the bands of Herbie Kay, Ted Weems, Glen Gray, Red Nichols and Ray Noble. The attractive redhead moved to Chicago and became active as an actress in radio. In 1943 she married actor/writer Elliot Lewis. In 1953 they produced and co-starred in the dramatic anthology series, On Stage. The pair became known as Mr. and Mrs. Radio. During 1947-54 she co-starred as Jane Stacy on My Friend Irma on radio. Active in films and television, in 1959 she played the role of Molly on the ill-fated Tv version of Fibber McGee and Molly. During 1961-65 she was seen as Deirdre Thompson on the Ileml comedy series. Her last TV appearance was in an episode of F Troop, portraying an aging Indian princess. Miss Lewis passed away at the age of 5o on November zo, 1968.

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WorldRadioHistory UNA M ERKEL (Adeline Fairchild) was born in Covington, Kentucky on December 1o, 1903. She attended school in Philadelphia and studied at the Alviene School of Dance. While trying to become a stage actress in New York she modeled for illustra- tions in True Slog magazine. In her free time she taught Sunday School. Bearing astriking resemblance to the young Lillian Gish, Una was hired by D. W. Griffith to be her stand-in. In 1924 she appeared in her first film role in The Fifth Horseman. Also that year she appeared in the first two-reel talkie short, Love's Old Sweet Song She made her Broadway stage debut in 1925 in asmall role in Two By Two, followed by a starring role in the comedy, Pigs. She toured for two years with Helen Hayes in Coquette. In 1930 Miss Merkel was hired once again by Griffith for the role of Ann Rutledge in the film, Abraham Lincoln. In 1931 she was signed to aseven-year contract at MGM where she was featured in two screen versions of The Merg Widow in 1934 and again in 1952. She also appeared in support of Jean Harlow in anumber of films. The versatile actress played roles ranging from highly efficient secretaries to tough-talking chorus girls with names like Tootsie and Fritzi. 129

WorldRadioHistory At Warner Brothers in 1933 she sang afew cho- ruses of "Shuffle Off to Buffalo" with Ginger

Rogers in 42 nd Street. In 1931 Miss Merkel was seen as secretary Effie in The Maltese Falcon. In 1936 she appeared in atwo-reel color short, How to Stuff aGoose. In the late 1930s she presented comedy monologues on CBS Texaco Star Theater: One of her most memorable screen roles was as Lily Belle Callahan in Destg Rides Again in which she had abar room brawl with Marlene Dietrich. In 1940 she was Myrtle Souse, the daughter of W. C. Fields in The Bank Dick. She was very active in films through the mid-1950's. In 1956 she won aTony Award for her stage role in The Ponder Heart. In 1959 she returned to Broadway for the musical Take Me Along She won aBest Supporting Actress Oscar nomination for her role as the demented shop-lifting Mrs. Winemiller in the 1961 film, Summer and Smoke. During World War ir Miss Merkel toured for the uso with Gary Cooper. Her hobby was cooking and her specialty was okra gumbo. Her last screen appearance in 1966 was with Elvis Presley in Spinout.

She passed away at the age of 82 on January 2, 1986.

130

WorldRadioHistory BARBARA W HITING (Babs Knickerbocker) was born in Los Angeles on May 31, 1931, the daughter of famed composer Richard Whiting. A natural comedienne, at an early age Barbara began to entertain celebrity guests at par- ties in her parents' home. Her radio debut took place circa 1944 playing the role of perky Mildren on the Meet Corliss Archer program. In addition she was heard on the broadcasts of Bing Crosby and Jimmy Durante. In 1944 she took over the leading role on the Junior Miss radio series on CBS. She made her film debut the following year portraying Fuffy Adams in the screen version of Junior Miss. She was signed to a film contract and toured for the uso. Her films included: Centennial Summer (1946), Home Sweet Homicide (1946), Carnival in Costa Rica (1947), Cie Across the River (1949), ICan Get It For You Wholesale (1951), and Beware, My Lovely (1953). Her last screen appearance was as Esther Williams' younger sister in Dangerous When wet at MGM in 1953. In 1949 Barbara joined the cast of The Great Gildersleeve as Leroy's girlfriend, Babs. In addition to comedy roles she was heard on dramatic shows, such as the December z, 1956 episode of Suspense, entitled "Rim of Terror." 131

WorldRadioHistory She retired in 1958 after her marriage to Gail Smith. A son Richard was born to the couple in 1960. In later years Barbara returned briefly to show business in some commercials for radio, and voice- overs for television.

132

WorldRadioHistory Film Credits

133

WorldRadioHistory 134

WorldRadioHistory The Great Gildersleeve

1942

Cast

Harold Peag — Throckmorton P. Gildersleeve Freddie Mercer — Leroy Forrester Nang Gates — Marjorie Forrester Jane Darwell —Aunt Emma Forrester Mary Field —Amelia Hooker Charles Arnt —Judge Horace Hooker Lillian Randolph — Birdie Scoggins Thurston Hall — GovernorJonathan Stafford George M Carleton — Frank Powers John Dilson — Mayor Appleton Syd Saylor — Phil, the Carpenter Anne O'Neal — Martha, Old Prune Fern Emmett — Second Old Prune George Chandler — Telegraph Messenger Brice Edwards — Governor's Secretary Donald Kerr — Photographer Mantan Moreland — Gildersleeve's Butler Stanley Price — Country Cub Member Lorin Raker — Court Clerk Herb Vigran — George, the Jeweler Russell Wade — Charks, Governor's Chauffeur

135

WorldRadioHistory Produced by Herman Schlom Directed by Gordon Douglas Written by Julien Josephson, Jack Townley Cinematography by Frank Redman Film Editing by John Lockert Art Direction by Albert S. D'Agostino, Walter E. Keller Special Effects by Vernon L. Walker Music Direction by C. Bakaleinikoff

136

WorldRadioHistory Gildersleeve on Broadway

1943

Cast

Harold Peag — Throckmorton P. Gildersleeve Billie Burke — Mrs. Laura Chandler Claire Carleton — Francine Gray Richard LeGrand — Mr. Peavg Freddie Mercer — Leroy Gildersleeve Hobart Cavanaugh — Homer Margaret Lando, — Margie Gildersleeve Leonid Kinsk6y — Window Washer Ann Doran — Matilda Brown Lillian Randolph — Birdie Mike Road —Jimmy Clark George M. Carleton — Druggist Hawkins Forrest Lewis — Druggist Carson Walter Tetley — The Bellhop Teddy Infuhr — Stank)! Jack Norton — Drunk on Window Ledge Frank Dawson — The Minister Phyllis Dare — The Little Girl Robert Anderson — Hotel Clerk Sylvia Andrew — The Spinster Joseph E. Bernard — Mr Underwood, the Postman 137

WorldRadioHistory Eugene Borden — Headwaiter Ken Chris?), — Delate Harty Clay — Bellboy Barbara Coleman — Model Rita Corday — Model Fred Essler — The Furrier Herbert Evans — Haddon, the Butler Barbara Hale — Stocking Salesgirl Daun Kennedy — Model Rosemag La Planche — Model Dorothy Malone — Model Charles F. Miller — The Judge Shirley O'Hara — Model Lee Phelps — Clang, Elaine Rik), — Model Lawrence Tierney — Cab Driver

Produced by Herman Schlom Directed by Gordon Douglas Written by Robert E. Kent Cinematography by Jack MacKenzie Film Editing by Les Millbrook Art Direction by Albert S. D'Agostino, Walter E. Keller Set Decoration by Darrell Silvera, William Stevens Costume Design by Renié Second Unit Direction by Harry D'Arcy Sound Recording by Bailey Fesler Music Direction by C. Bakaleinikoff

138

WorldRadioHistory Gildersleeve's Bad Day '943

Cast

Harold Peag — Throckmorton P. Gildersleeve Jane Darwell — Aunt Emma Forrester Nang Gates — Maorie Forrester Charles Arnt — Judge Horace Hooker Freddie Mercer — Lem Forester Russell Wade — Jimmy Lillian Randolph — Birdie Frank Jenks — Al Douglas Fowlg — Louie Barton Alan Carng — Toad Grant Withers — Heng Potter Richard LeGrand — J. W Peavg Dink Trout — Otis Harold Landon — George Peabody Charles Cane — Police Chief Ken Christy — Bailiff Joan Barclay — Julie Potter Richard Bartell — Juror Herbert Bergman — Juror Eddie Borden — Juror Patti Brill — Gladys Knight Morgan Brown — Juror Jimm_y Clemons, Jr. — Boy 139

WorldRadioHistory Lou Davis — Juror Fern Emmett — Mrs. Marvin Barbara Hale — Girl at Pary and Dance Earle Hodgins — Mason the Cop Danny Jackson — Messenger Boy Warren Jackson — Joe the Cop Arthur Let — Lucas WI O'Brien — Juror Broderick O'Farrell — Juror Lee Phelps — Ryan Jog Ray — Tom Jack Rice — Hotel Clerk Ralph Robertson — Juror Edgar Sherrod — Minister Margie Stewart — Babs Ann Summers — Dora Deet Fred Trowbridge — Defense Attorng Bety Wells — Dippy Lary Wheat — Juror

Produced by Herman Schlom Directed by Gordon Douglas Written by Jack Townley Cinematography by Jack MacKenzie Film Edited by Les Millbrook Art Direction by Carroll Clark, Albert S. D'Agostino Music Direction by C. Bakaleinikoff

140

WorldRadioHistory

-- 4 4dOr.—._...... 144.44.. .•••••••1•4. Gildersleeve's Ghost

1944

Cast Harold Peag — Throckmorton P. Gildersleeve,

Randolph Q. Gildersleeve, Jonathan Q Gildersleeve Marion Martin — Terg Vance Frank Reicher — Dr. John Wells Richard LeGrand — Mr. Peavy Emog Parnell — Commissioner Haly Nick Stewart — Chauncy, the Chauffeur (as Nicodemus Stewart) Marie Blake — Harriet Morgan Freddie Mercer — Leroy Forrester Margie Stewart — Marjorie Forrester Lillian Randolph — Birdie, the Housekeeper Joseph Vitale — Lennox, the Henchman Amelita Ward — Marie, the Maid Charles Gemora — Gorilla Mag Halsy — Blond at Rally Jack Norton — Drunk at Rally Dink 7i-out —Judge Hooker

Produced by Herman Schlom Directed by Gordon Douglas Written by Robert E. Kent

141

WorldRadioHistory Cinematography by Jack MacKenzie Film Editing by Les Millbrook Art Direction by Carroll Clark, Albert S. D'Agostino Set Decoration by Darrell Silvera, William Stevens Costume Design by Renié Makeup by Mel Berns Second Unit Direction by Harry Mancke Sound by Francis M. Sarver Special Effects by Vernon L. Walker Music by Paul Sawtell Music Direction by C. Bakaleinikoff

142

WorldRadioHistory Television Credits

143

WorldRadioHistory 144

WorldRadioHistory The Great Gildersleeve

19 5 5 (Syndicated)

Cast

Willard Waterman — Throckmorton P. Gildersleeve Stephanie Gen — Marjorie Forrester Ronald Keith — Leroy Forrester Lillian Randolph — Birdie Harry Antrim — Judge Horace Hooker Forrest Lewis — Peavg Hal Smith — Floyd Munson Willis Bouchg — Mayor Terwilliger Leslie Denison — Rumson Bullard Carole Matthews — Kathryn Milford Robert Foulk — Charlie Anderson Barbara Stewart — Bessie Doris Singleton — Lois Kimball Phyllis Coates — Sally Fuller Alex Talton — Mona Frances Dorot Green — Ellen Knickerbocker Mary Jane Saunders — Brenda Knickerbocker Burt Mustin — Folg, the Janitor

145

WorldRadioHistory 146

WorldRadioHistory Index

42nd Street, 130 Arden, Eve, 8z, 125 Abbott and Costello, 93 Armbruster, Robert, 55

Abraham Lincoln, 129 Arnt, Charles, 69

Adventures ofBobby Arquette, Cliff, 2 Benson, The, 90 Arsenic and Old Lace, 83 Adventures ern Bowie, The, 82 At the Circus, 104 Adventures ofMark Twain, 105 Auntie Mame, 82 Adventures of Oeie and Autry, Gene, 91, 117

Harriet, The, 100, 122 Baby Snooks, loz, 117 Adventures ofRin 77n Tin, The, 82 "Babs," 49, 131 Adventures of Tom Mix, The, 8o Bachelor and the Bobbysoxer, Adventures of Wild Bill Hickok, The, io5 The, lo8 Backus, Jim, 40 The Aldrich Family, 51 Ball, Lucille, 69, 127 Alan Young Show, The, loo, 117 Ball ofFire, 117 All-American Co-Ed, 105 Band Wagon, The,79,115 Allen, Fred, 89-90 Bank Dick, The, 130 Am IGuilty?, 104 "Banks, Piggy," 14-15, 35 American Journal of Philology, 2 Bannon, Jim, 55, 64, 121 American School of the Air; 90 Barnard College, 2

Amos 'n'An4y, 51, 102, 104 Barrett, Pat, 69 "Anderson, Charlie," 34 Bat Masterson, 82 Anderson Family, The, 94 Bear, Parley, 68 Andy Griffth Show, The, 125 Bells of Capistrano, 117 Andy Panda, 95 Benaderet, Bea, 121-1z3 Anna, Mary, 82-83 Bend of the River; io5 Apartment, The, 8z Bennett, Richard, 126 Arch Oboler's Plays For Benny, Jack, 51, 74-75, 89, 121 Americans, Io8 Berle, Milton, 51

147

WorldRadioHistory "Bessie," 34, 65, 119 Campbell Playhouse, The, 121 Bever!), Hillbillies, The, 122 Cantor, Eddie, 89 Beware, My Lovely, 131 Capitol Records, 73-74 Bill Cosby Show, The, io5 Card, Kathryn, 68 Bill Goodwin Show, The, 113 Carnival in Costa Rica, 131 Billie Burke Show, The, io8 Carpenter, Ken, 55 Billy and BetC,90 Carradine, John, 83 Bingham, Amelia, no Caton, Fred, 55

"Birdie," 10, 15-17, 20, 38,44, 46, Cavalg, 108

48,5 2,54, 55, 69, 72, 104, Io6 CBS, 94, 121, 130 Blondie, 115 CBS Texaco Star Theater; 130 Blue Monde Jamboree, The, izi Centennial Summer; 131 Boely Heat, 125 Chandu, the Magician, 79 Bondi, Beulah, 63 "Chauncey," 24 Boweg to Broadway, 93 Cheyenne, 8z Boy Scouts Jamboree, 124 Chicago Theater of the Air; 8o Boy Slaves, 91 Child of Divorce, lo5 "Breckenridge, Florabel," Children's Hour; The, 87, 90, 112 67-68 Christy, Ken, 63, 117-118 Brennan, Walter, 124-125 Circus Boy, 76 "Brinkerhoff, Larry," 12 City Across the Water; 131

"Bronco," 43, 46-48, 54, 124 Climbers, The, no Bryan, Arthur Q., 63, 115-n6 "Clod, Cicero," 61 Buck Rogers, 89 Clown, The, 113 "Bugs Bunny," 115 Collier Hour, The, 89 "Bullard, Craig," 39 Colonna, Jerry, 69 "Bullard, Marshall," 12 Comin' Round the Mountain, 68 "Bullard, Rumson," 12, 39, 126 Command Performance, 72

Burke, Billie, 70, Io8 Conreid, Hans, ii Burma Conve, 117 Contests, 42, 44, 48, 67 Burns & Allen, 89, 102, Ill, Coo Coo Hour, The, 88 124, 127 Cooks and Crooks, 105 Burns, Bob, 68 Cooper, Gary, 130 13.yDawn's Early Light, 125 Coquette, 129 148

WorldRadioHistory Coquettes, The, in Disney studios, 91-92, 103 Cost of Living, The, 107 "Mr. Dobson," 28 Costello, Lou, 93, 99 "Dobson, Dottie," 28 Country Fair; 69 "Doc Yak Yak," 66-68 Courageous Dr Christian, io8 Doctor Christian, ioo "Cramer," 61 Dolan, Robert Emmett, 73 Crenna, Dick, 124-125 Doyle, Jim, 56 Croft, Mary Jane, 68 Dr. Killdare Goes Home, 117 Crosby, Bing, 81, 131 Dr. Suess, 74 Daily Variety, 64 Drake, Pauline, 34 Daley, Cass, 81 Dramas of Youth, ioo Damon Runyon Theater; 81 Durante, Jimmy, 131 Dancers, The, 126 Due of the Circus, 95 Danch, Bill, 68 Earle Ross Theater of the Air, Dangerous When Wet, 131 The, 108 "Darling, Alice," 113 Easton, Mary, 43 Darling, How Could You?, 81 El Sidelo Minstrels, 6o Darwell, Jane, 69 Elliote, John, 56 Date With Judy, A, loo, 122 Emerald Isle, 88 Date With the Falcon, A, io8 Emergency Squad, 92

Davis, Joan, 81, 112 English Cornets, 126 Day in the Life of Dennis Day, Erickson, Louise, ioo-loi

A, 122, 127 Eyes in the Night, 92 Dear Brat, 105 F Troop, 128 Death Valk), Days, 89 "Fairchild, Adeline," 40-41, 63 Decca Records, 74 Father of the Bride (series), 98 Del Rey, Dolores 43 Father of the Bride, The, 81 DeMille, Cecil B., 63 Faye, Alice, 94, 127

Dennis the Menace, 127 Fields, W.C., 91, 130 Desk Set, The, 113 Fifth Horseman, The, 129 Destry Rides Again, 13o Fifth Row Center; 8o Dick Van Dyke Show, The, 76 First Nighter, The, 8o, nz Dietrich, Marlene, 130 "Miss Fitch," 34 "Dinwiddle," 61 Flame of Youth, The, 81 149

WorldRadioHistory Flamingo Kid, The, 125 Get Yourself aCollege Girl, 8z Flash Gordon, 126 Gibraltar Savings Bank Flintstones, The, 122 commercials, 77 Flying Family, The, 89 Gildersleeve, Basil Lanneau, 2

Flying Time, 61 "Gildersleeve, Dr. Donald," 2 Follow the Boy, 93 "Gildersleeve Girdle Works," 5 Foray, June, 96 "Gildersleeve, Dr. Leo," 2 Forever Ernest, ii6 Gildersleeve On Broadway,

"Forrester, Aunt Harriet," 42 70-71, 105, 137 "Forrester, Charles," 5, 16 Gildersleeve radio series, 15 "Forrester, Leroy," 5, 9-11, 13-17, - end of series, 55-56

2 3) 28,33, 35, 37, 43, 45, 48-49, - fight for control, 64-66

54-54, 69, 72,7 8,86 ,9 2- 94 - minute series, 53-54 "Forrester, Marjorie," 9-13, "Gildersleeve, Throckmorton

16-17, 30, 34, 40, 42-43, 46-47, P., character," 5-9 54, 69, 98, ioo, 102-103 "Gildersleeve, Throckmorton Forte, Joe, 47 P., origin," 1-5, 61 Francis Goes to the Races, 81 Gildersleeve, Virginia

Fraser, Monty, 55 Chrocheron, 2 Freberg, Stan, 94 Gilderskeve's Bad Day, 69-70,

Free For All, 81 72,93, 10 5 Frees, Paul, 96 Gilderskeve's Ghost, 71-72, 105, 141 Friendship Town, 89 Gish, Lillian, 129 "Frite -Wig," 61 Glamour Manot; 122 "Fudd, Elmer," 115 Gleason, Jackie, 51

Fury at Sundown, 118 "Goodwin, Eve," 37, 39, 121 Gallant Heart, 117 "Gooey-Fooey," 61

"Gates, Chief Tom," 36, 45, 11 7 Gordon, Bert, 93 Gates, Nancy, 69 Gordon, Gale, 40, 125-127 Gazzara, Ben, um Gordon, Gloria, 126

G.E.Theater; 99 Gorilla Man, 92 Gentleman From Dixie, lo5 Granby's Green Acres, loo George Burns and Gracie Grand Hotel, 8o Allen, 51 Gray, Glen, 128 150

WorldRadioHistory Great Gildersleeve, The (film), Holliday, Gloria, 34, 65, 67-68,

69, 105 76-77, 119-120 Great Gildersleeve, The (Tv Hollywood Hotel, 98 series), 51-53 Hollywood or Bust, 8z Green Acres, loo Hollywood Radio Theater, The, 96 Griffith, D. W., 129 Holy Cross, The, 107 Grouch Club, The, 91, 115 Home, Sweet, Home, 90 Gruener, Karl, 55 Home Sweet Homicide, 131 "Mrs. Guernsey," 23 Honest Harold, 66-68, 75, 119 Gyldersleve, 1 "Honeywell, Oliver," ii Hail to the Chief 83 Hot Copy, 8o Hal Roach Studios, 53 How Do You Do?, 93 Ha/fa Hero, 81 How To Be Very, Very Popular; Halls of Ig, The, 81, 116, 127 81 Hap Hazard, 4 How To Marry aMillionaire, 82 "Hargreve, Dr. Arthur," 37 How To Stuff aGoose, 130 Harlow, Jean, 129 How To Succeed in Business, Harmon ofMichigan, 117 Without Really Trying, 82 Harris, Phil, 94, 127 Hush, Hush Sweet Charlotte,io5 Hartesveldt, Fran Van, 55, 119 ICan Get It For You Has Arybocly Seen My Gal?, 81 Wholesale, 131 Havoc, June, 76 ILove A Mystery, iii "Hawks, Wally," 12 ILove Lug, 51, 113, 127 Hayes, Helen, 90, 98, 129 mn aWoman's Power or A Hazel, 128 Dangerous Friend, 107 He Hired the Boss, 117 "Indicator-Vindicate 15, 32 Heaven Can Wait, 105 Inspector Post, 108 Heifetz, Jascha, 91 Invisible Agent, 92 "Hemp, Emily," 66, 68 It Can Be Done, 61 "Hemp, Harold," 66-68 It Happens Every Thursday, 81 Here We Go Again, 69 It's aMad, Mad, Mad, Mad Here's Lug, 127 World, 82

Hi, Neighbor; 105 It's a Wondeccul 14e, 105 Hok in the Head, A, 125 Jack Armstrong, 117 151

WorldRadioHistory Jack &my Show, The, lzi Kraft Foods, 5, 9, 42, 62,

Jack Benny's Golden Memories of 65-66, 77, 84 Radio, 74- Kraft's D-th Anniversag Show, 77 Jack Carson Show, The, 112 "Krouse, Henry," 44 Jamboree, 113 Lady Margaret, no Jennifet;. los Lady Next Door, The, 87 Jewell, Jim, 104 Laing, John, 55 Johnson Wax, 4-5, 19 Lansbury, Angela, 83 "The Jolly Boys," 17, 28, 36, Lantz, Walter, 95 44-47 Laramie, 82 Jolson, Al, 104 The Latin Grammat; 2 Jonathan Trimble, Esquire, io8 Lauder, Sir Harry, 87 Jones, Dickie, 92 LeGrand, Richard, 52, 70, 72,

Jones, Spike, 75 1IO-III Jourdain, Betty Farquhar, 6o Leibowitz, Herb, 101 "Judge Hooker," 14-15, Lemond, Bob, 68

18 -21, 23, 30, 32, 36, 38, 41, Let's Make Music, 92

45, 47, 54, 67, 69, 70,10 7, Let's Pretend, 90 109 Levinson, Leonard L., 4, 56 Judy Cavona, 127 Levy, Parke, 51 Julia, 99 Lewis, Cathy, 128 Junior Miss, 127, 131 Lewis, Elliot, 128 Karloff, Boris, 91 Lewis, Forrest, 52 Kate Smith Show, The, 90, 119 14fe Goes On, 104 Kay, Herbie, 128 L¡fe ofRilty, The, 51, 112 KABC, 76 Lqce With Father; 98 Kearns, Joseph, 47, 68 Lights Out, 61, 75, lo8 Kelly, Mae, 43 Little Men, 104 Kennedy, Edgar, 105 Livingston, Jay, 113 Kid in the Corner, The, 94 Lodger, The, 93

Kiss Me Kate, 83 Lone Ranger, The, 112 "Knickerbocker, Brenda," 49 Loner, The, 77 "Knickerbocker, Ellen," 48 Look magazine, 47 Knight, Frank, 75 Look Who's Laughing, 69 152

WorldRadioHistory "Lord Bingham," 61 "McGee, Fibber," 54, 61,

LordJeff, 91 63, 68-69, 76, 92, 111-112, 115,

Lou Grant, 125 122, 126, 128 Louisa, 81 Me andJanie, 81

Love's Old Sweet Song, 129 Meaken, Jack, 55, 68,74 Lowe, Edmund, 121 Meet Corliss Archer; 51, Ioo, 131 Luck_y Sambo, 104 Meet Millie, 108, 122 Lulu and Leander; 104 Mel Blanc Show, The, io8 Lum and Abner; 51, 102 Memory Lane, III Lux Presents Hollywood, 62 Mercer, Freddie, 69 Lux Radio Theaten io8 Merkel, Una, 41, 63, 69, Lynne, Virginia Safford, 129-130

55 -56 Merman, Ethel, 115 Ma Barker's Killer Brood, 99 Merry Widow, The 129 Macbeth, 99 Mexican Spitfire Sees A Ghost, Macdonnell, Norman, 68 The, io5 MacRae, Gordon, 75 Michael Share, Detective, 108 Magic, lo5 "Milford, Kathryn," 43 Maltese Falcon, The, 130 Military Academ_y, 92 Mame, 83 Miller, Ann, 83 March of Time, The, 89 Mills, Billy, 4, 55 Major Hoople, 115 Mitchell, Billy, 104 "Marjorie's wedding," 46-47 Mitchell, Shirley, 67-68, 112-114 Marx Brothers, 104 —children of, ii3 Mature, Victor, 69 Molly and Me, 93 Maverick, 82 Moonlight in Havana, 93

Max, Ed, 40 Moore, Sam, 56, 73 Maxwell, Charlie, 6o Morgan, Jane, 68

May, Billy, 74 Mr. Lord Says No, II3

"Mayor Appleby," 61 Mr. Smith Goes West, 104 "Mayor Terwillinger," 34 Mrs. O'Malky and Mr: Malone, 8i "McBoing-Boing, Gerald," "Munson, Floyd," 25-28, 33,

74-76,95 35, 115 McGary and His Mouse, 113 Music Man, The, 83 153

WorldRadioHistory Mutual Network, 96, loo Peary, Hal, 2- 5, 34, 41,5 2,

My Favorite Martian, 82 59 -78,81-82, 92, 94, 119 My Favorite Husband, 1z7 - recording career, 72-75

My Friend Irma, 122, 128 Peary, Page, 65, 76-78

Mystery Street, 81 "Peavey," 14-15, 21-25, 29, 33,

NBC, 1, 4, 60, 65, 81, 84, 36, 45, 49) 52 , 54, 67, 70-72,

87-88, 102, 105, 113, 124 110-III Needham Louis & Penner, Joe, 89, 104 Brorby, 65 Penny Singleton Show, The, 127 Nichols, Red, 128 Perry Mason, 76 Nit Wit Court, 115 Pete and Gladys, 113

No Man ofHer Own, 81 "Dr. Pettibone," 23-24, 50 No Time For Love, 105 PetticoatJunction, 77, 122 No Time For Sergeants, 125 Phillip Morris cigarettes, 90

Noble, Ray, 128 Pigs, 129 Nolan, Jeanette, 47 Pin-Up Girl, 93 Norman, Lucille, 75 Pinocchio, 91-92 Oboler, Arch, 61, 75, io8 Pittman, Frank, 55 Ogg, Sammy, 68 Please Don't Eat the Daisies, 113 Ole and the Girls, iii Ponder Heart, The, 130 Once More My Darling, lo5 Port of Hell, 75 One Man's Family, iii Powell, Dick, 115 Onion Field, The, lo5 Prairie Moon, 91

Our Miss Brooks, 124, 127 Presley, Elvis, 130 Outlaw's Son, 118 Quinn, Don, 1-2, 4 Pajama Game, The, 83 Radio Mirror; 52 Paramount Pictures, 68, 81 Radio Nostalgia Network, 55 Parkay Margarine, 9 Railroad Hour, The, 75 Parker, Juanita Lawson, 77 Raising Junior 88 "Peabody, Stanley," 66, 68 Ramblings ofJeremiah Quid, Peabody's Improbable The, io8 History, 95 Randolph, Amanda, 55 Pearce, Al, 104 Randolph, Lillian, 52, 55, 69, "Pearson, Oliver T. P.," 46 72, 104-106 154

WorldRadioHistory Randolph, William, 55 Screen Guild Players, 72 "Ransom, Beauregard," 3o-31 Sealtest Village Store, The, 112

"Ransom, Leila," 28-31, 34-37, Secrets of the Underground, 117 40, 67, III, 113 Selig, Colonel Bill, 107 Rapf, Matthew, 53 Serling, Rod, 96

Real McCes, The, 124 Seven Dgys Leave, 69 Red Adams, 89 Seventh Heaven, 126 Red R_ydet; 116, IzI Sherman, Ransom, 4, 112 Reimer, Virgil, 55 Show Boat, 90 Renfrew of the Mounties, 90 Show Off The, 6z Republic Pictures, 53, 69, 81, Sidney, Sylvia, 83

91, 121 "Silverscreen," 61 Rich, Irene, 90, 93, 126 Singer, Stuffy, 68 Richard Diamond, Private Six Lessons From Madame La Detective, 116 Zonga, 117 Riders of the Whistling Skull, lo8 Skelton, Red, 51

Riding High, 81 Slatteg's People, 124 RKO, 63, 69, 72, 93 Sleep My Love, lo5

Road of Lifè, The, 112 Smilin' Ed McConners Buster Roads To Romance, 6o Brown Gang, 117 Robb, Mary Lee, 102-103 Smith, Gail, 132 Robinson, Jack, 56, 68 So You're Having In-Law Rocky and His Friends, 95 Trouble, 81 Rogers, Ginger, 13o Son That Rose in the West, The, 64 Roots, los Song For Miss Julie, 105 Ross, Earle, 107-109 Soule, Olan, 68 Ruick, Melville, 99 Spanish Serenader, The, 6o Russell, Rosalind, 8z Sparks, Ned, 91 Sad Sack, The, 117 Spinout, 130 Sally, Irene and Mag, 91 Spirit of Culver, The, 91 Sam Spade, 98 Spotlight Revue, The, 6o, no Sand Pebbles, The, 125 Stanwyck, Barbara, 81 "Schneider," 13, 17 Stars Over Hollywood, 75 Scott, Bill, 96 Stedman, June, 43 155

WorldRadioHistory Stepmother; 8o, 117 Tower ofLondon, The, 91 Stewart, Jay, 56 Town Hall 7bnight, 91 Stone, Gene, 56, 68 Treasure Adventures °flack "Stories For Children," 73-74 Master, The, 90 Stog ofMay Marlin, The, 112 Trendle, George, 104 Stormy Trails, io8 True Stog magazine, 129 Stuart, Jim, 77 Tuttle, Barbara, 99 Summer and Smoke, 130 Tuttle, Grace, 43 "Summerfield," 5, 9, 12, 14-18, Tuttle, Lurene, 98-99

21, 23, 28, 31-35, 37-39, 41,43, Twelve Players, in 46, 49, 69, 71 "Twitchell, Mrs. Salisbury," 23 Suspense, 131 Two By Two, 129 Sweeten, Claude, 55 Twombly, Gene, 123 Take Me Along, 130 Uncle Abe and David, 89 Tales of the Texas Rangers, 117 Uncle Whoa Bill, too Tales of Willie Piper; 113 Under Western Skies, 92 "Teaberry, Professor Underwood, Cecil, 55 Luther," 34 United States ofAmerica, Vol. I, Tetley, Walter, 72, 78, 86-97 The, 94

Texaco Star Theater; 51 University of Virginia, 2 Texas Carnival, 74 Up In Arms, 105 Theater of Famous Radio "Upshaw, Cecil P.," 14 Players, The, io8 Utah Blaine, ii8 They Shall Have Music, 91 Vacation Playhouse, 82 Those Websters, 8o Wagon Rain, 82 Three Coins in aFountain, 81 Wait Until Dark, 125 Three For the Show, 82 Wald, John, 55-56 Three Little Sisters, 105 "Walker, Ogleby," 66 Thrills of Tomorrow, The, 90 Waltz Varieties, 76 Thunder Birds, 93 Warner Brothers, 95, 130 A Tiger Walks, 77 "Water commissioner," 27, To the Ladies, 98 33, 35 -36,44, 46 Tom and Jerry cartoons, io6 "Waterford, Ben," 12 Tommy Riggs and Bete Lou, 117 Waterman, Lynne, 83 156

WorldRadioHistory Waterman, Susan, 83 Waterman, Willard, 40, 52,

61, 64, 79 -8 5, 93 — commercial work, 83 Weside Cottage, 89 We the People, 90 Weems, Ted, 128 IVelcome Valley, 6i Welles, Orson, 99, 121 West, Paul, 56 West Point Widow, lo5 IVetbacks, 76 IVheatenaville, 61, 89 Whedon, John, 56, 73 Where the Trail Divides, 107 Whistling in Dixie, 117 White, Andy, 56 Whiting, Barbara, 131-132 Whiting, Richard, 132 Who Done It?, 93 Wilcox, Harlow, 4 Williams, Esther, 131 "Wills, Ted," II Willy, 76 Winnie the Pooh, 89 Winthrop, Paula, 43 "Wistful Vista," 3-5 Wizard of O The, 89 WMGM, 76 WTAM, 104 Wynn, Ed, 51 You Can't Cheat An Honest Man, 91 Young Love, 113 157

WorldRadioHistory The Great Gildersleeve was radio's first spin-off series, and 14unchrtjd Harold Pea yas amajor comedy.,tau:Tlie piompous windbag', affectionately known as tildy, 4firkt originated on tbe Fibber MCGee and Mg& prgram in the 191ps: Seventy years later, amdie.ncès are still laughing at radio's champion wtater commissioner! t, • Painstakingly researcheà;this FIRST book on Gildersleeve gives adetailed history pf all the characters, and in-depth biographies of the cest members. Contains many RARE picfprês, too!

CHARLESI§TUMPF was 'born in avery small town'in northeastern PennK0vania. He has worked professionally in "er theatre and films. Mr. Stumpf is4he recipient pf the Allen Rockford_ Award presented by the Friends of Old Time Radio. A noted historian, Mr. Stumpf has written dozens of a'rticles on old time radio and is the author of several books,,inCludin Ma Per,eins,,Little Orphan Annie and Hi-Yo, Silveri; Heavenly Days!

The Sim, of Fibber McGee and Molly; and The Smiling Girl im the 4` Cardboard Am The Saga of Paulette Goddard.

BEÑ OHMART was born in'Xlbany, Georgiatand riow lives in Boalsburgtr eppsylvania. He has written or the stage, screen

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